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McGrew, Mac AMERICAN METAL TYPEFACES OF THE TWENTIETH CENTURY.
New Castle, Delaware Oak Knoll Press 1993 9 x 12 inches paperback 398 pages
Reprint of the second, revised edition. Discover 1,600 classical as well as bizarre typefaces in one of the most massive tributes to the history of printing and metal types. This edition of American Metal Typefaces of the Twentieth Century contains 300 more typefaces in a clean, attractive format. This well-organized work captures the rapidly disappearing traditions and legacy that metal-type printing has left behind. Much of this information has been lost by the passage of time, and its preservation in this book is essential for anyone studying typefaces, typography, and its history.

Structured by alphabetically-listed type families, these typefaces and their variant forms are shown in full alphabets - upper and lower case with numerals and punctuation. The specimens themselves are cleanly reproduced from metal types for maximum clarity. The text is detailed and informative, not only identifying the designer, foundry, and date of issue but also the range of sizes and closely similar designs by other founders. The history, aims, and purpose behind many of these typefaces are also described, along with production problems encountered and individual characteristics. Additional information includes extensive appendices listing common pseudonyms, popular imports, and antique faces, plus American Typefounders, Monotype, and Ludlow series numbers. The indexes provide easy access to typeface names as well as names of designers, punch cutters, matrix engravers, and other tradesman.

The history of metal types and printing, now forever preserved, has long affected the spread of human civilization. Oak Knoll Press is proud to offer this work to generations of graphic designers, typographers, printing and graphic arts enthusiasts all over the world.
Price: $ 65.00 other currencies Order nr. 34980

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McGuinne, Dermot. IRISH TYPE DESIGN: A HISTORY OF PRINTING TYPES IN THE IRISH CHARACTER.
with a foreword by Hendrik D.L. Vervliet Dublin National Print Museum 2010 7.5 x 9.5 inches hardcover, dust jacket 236 pages
Second edition. The designing of special type for printing Irish language texts began in the late sixteenth century and lasted into our own day, attracting the attention of many leading political and religious figures -Elizabeth I; Irish Franciscans in exile on the Continent; and at one point even Napoleon I - as well as scholars such as John O'Donovan, Eugene Curry, George Petri and John Henry Newman. More recently, internationally renowned designers Stanley Morison, Victor Hammer, and Eric Gill have made significant contributions to Irish type design.

Irish typography came after the demise of the late Graceo-Roman uncials and semi-uncials, preceded by late Gothic, Roman, Italic, and Greek types. It was considered a 'sacred' script for the purpose of studying Scripture.

Dermot McGuinne's book is the most comprehensive published on this subject and has become a standard work of reference. It contains more than 150 illustrations of Irish types spanning over four centuries. McGuinne covers Irish types including Queen Elizabeth's Irish type, the Rome Irish type, the Paris and Parker types, and others. Throughout eleven chapters, McGuinne provides a comprehensive account of every Irish font in its cultural, religious, and political context. This expanded second edition also includes a new foreword by Hendrik D.L. Vervliet and a new chapter on Louvain Irish type.

Dermot McGuinne gained his primary degree and early experience as a graphic designer in the United States where he later held the position of Art Director at the University of Iowa Press before returning to Ireland. He was awarded his doctorate from Trinity College Dublin for work completed on the subject of the "Irish Character in Print" and is the author of various articles on the topic. He has been the head of the departments of Visual Communication and of Fine Arts at the Dublin Institute of Technology.

Available outside North and South America from the National Print Museum, Dublin.
Price: $ 55.00 other currencies Order nr. 104562

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McGuinne, Dermot. IRISH TYPE DESIGN: A HISTORY OF PRINTING TYPES IN THE IRISH CHARACTER.
with a foreword by Hendrik D.L. Vervliet Dublin National Print Museum 2010 7.5 x 9.5 inches paperback 236 pages
Second edition. The designing of special type for printing Irish language texts began in the late sixteenth century and lasted into our own day, attracting the attention of many leading political and religious figures -Elizabeth I; Irish Franciscans in exile on the Continent; and at one point even Napoleon I - as well as scholars such as John O'Donovan, Eugene Curry, George Petri and John Henry Newman. More recently, internationally renowned designers Stanley Morison, Victor Hammer, and Eric Gill have made significant contributions to Irish type design.

Irish typography came after the demise of the late Graceo-Roman uncials and semi-uncials, preceded by late Gothic, Roman, Italic, and Greek types. It was considered a 'sacred' script for the purpose of studying Scripture.

Dermot McGuinne's book is the most comprehensive published on this subject and has become a standard work of reference. It contains more than 150 illustrations of Irish types spanning over four centuries. McGuinne covers Irish types including Queen Elizabeth's Irish type, the Rome Irish type, the Paris and Parker types, and others. Throughout eleven chapters, McGuinne provides a comprehensive account of every Irish font in its cultural, religious, and political context. This expanded second edition also includes a new foreword by Hendrik D.L. Vervliet and a new chapter on Louvain Irish type.

Dermot McGuinne gained his primary degree and early experience as a graphic designer in the United States where he later held the position of Art Director at the University of Iowa Press before returning to Ireland. He was awarded his doctorate from Trinity College Dublin for work completed on the subject of the "Irish Character in Print" and is the author of various articles on the topic. He has been the head of the departments of Visual Communication and of Fine Arts at the Dublin Institute of Technology.

Available outside North and South America from the National Print Museum, Dublin.
Price: $ 35.00 other currencies Order nr. 104563

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(MERGENTHALER, OTTMAR) NEW-YORK DAILY TRIBUNE, SATURDAY, JULY 3, 1886.
New Castle, DE Oak Knoll Books 1988 17.5 x 23.5 inches. folded broadsheet Printed in black on one side only.
A facsimile of the first newspaper page composed on a commercial Linotype. Although printed by offset lithography, the parts composed by the Linotype can still be visibly distinguished from the hand-set type because of a single wrong-font bold face apostrophe. This appears in only three of the stories (see Schlesinger: Ottmar Mergenthaler, Inventor of the Linotype, pp. 113-116).
Price: $ 10.00 other currencies Order nr. 24085

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Mitchell, Michael and Susan Wightman BOOK TYPOGRAPHY: A DESIGNER'S MANUAL
Marlborough, Wiltshire Libanus Press 2005 7.25 x 9.25 inches paperback 434 pages
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.
Distributed for Libanus Press. Sales Rights: Worldwide except Europe and the UK; available in Europe and the UK from Libanus Press.
Price: $ 69.95 other currencies Order nr. 92771

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Moran, Bill, Robert Style, Dennis Ichiyama, and Richard Zauft HAMILTON WOOD TYPE: A HISTORY IN HEADLINES
St Paul, MS Blinc Publishing 2004 8.5 x 8.5 stiff paper wrappers 65 pages
Hamilton began producing type in 1880 and within 20 years became the largest provider in the United States. The Hamilton Wood Type and Printing Museum is the only museum dedicated to the preservation, study, production and printing of wood type. With 1.5 million pieces of wood type and more than 1,000 styles and sizes of patterns, Hamilton's collection is one of the premier wood type collections in the world. In honor of the Museum's fifth anniversary, Blinc Publishing was commissioned to produce a 65 page book outlining the history of the Hamilton Wood Type Company, the importance of wood type to the growth of printing world-wide, and the role the Museum plays in the education of today's design professionals. The book includes a foreword by Jim Sherraden and five chapters on the history of Hamilton as a company and a museum. Well illustrated in full color. Cover is letterpress printed. Distributed for the Hamilton Wood Type and Printing Museum.
Price: $ 20.00 other currencies Order nr. 99663

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Pankow, David (Editor) AMERICAN PROPRIETARY TYPEFACES
New York American Printing History Association 1998 8vo. cloth 176, (4) pages followed by 38 plates.
This book is a fascinating survey of typefaces developed in America after 1892 and intended for composition in metal for the use of an individual or press. It includes essays by the following: Susan Otis Thompson on American Arts & Crafts typefaces, Martin Hutner on the Merrymount Press, Herbert Johnson on Bruce Rogers's Centaur type, Cathleen Baker on Dard Hunter's typefaces, Mark Argetsinger on Frederic Warde, Stanley Morison, and the Arrighi type, Jerry Kelly on Joseph Blumenthal's Spiral (Emerson) type, Dwight Anger on Frederic Goudy's Kaatskill type, W. Gay Reading on Victor Hammer's Uncial Types, John Kristensen on experimental types of W.A. Dwiggins, and Paul Hayden Duensing on contemporary private types. Limited to 600 regular edition copies set in Monotype Centaur and Bembo with text printed letterpress and the illustrations printed by offset lithography at The Stinehour Press. Designed by Jerry Kelly. Includes 66 illustrations at the end of the book.
Price: $ 50.00 other currencies Order nr. 97457

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Plomer, Henry R. ENGLISH PRINTERS' ORNAMENTS
Mansfield Centre Martino Publishing 2008 8vo. cloth. xii, 292 pages.
Reprint of the 1924 first edition. On the origin of the printers' ornament, Borders, Head and Tail pieces, Miscellaneous ornaments, etc. Illustrated.
Price: $ 65.00 other currencies Order nr. 100353

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(Rogers, Bruce) Mansbridge, Georgia. BRUCE ROGERS: AMERICAN TYPOGRAPHER.
New York The Typophiles 1997 small 8vo. cloth. xiii, 95, (3) pages.
Limited to 500 copies. Chap Book, New Series, Number One. Short biography of Bruce Rogers (1870-1957), a reprint of the 1965 Master's Thesis by Mansbridge, who was acquainted with Mr. Rogers during the last decade or so of his life. (Facing the title page is a photo of the author and Mr. Rogers.) There is no discussion of books designed by Mr. Rogers, but a concluding chapter quotes various comments, positive and negative, by others on the work of Rogers. Concludes with notes, primary and secondary bibliographies (not updated since the original publication). Printed at the Stinehour Press. Bruce Rogers' colophon device is gilt-stamped on the front cover. Distributed for the Typophiles by Oak Knoll Press.
Price: $ 85.00 other currencies Order nr. 61160

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Rosart, Jacques-François THE TYPE SPECIMEN OF JACQUES-FRANÇOIS ROSART. FACSIMILE, WITH INTRODUCTION AND NOTES BY FERNAND BAUDIN AND NETTY HOEFLAKE.
Nieuwkoop HES & DE GRAAF 1973 8vo paper covered boards. 82 pages followed by facsimile.
Fine facsimile of the `Epreuve des caracteres, Qui se gravent & fondent dans la nouvelle fonderie de Jacques-François Rosart`.. Deuxième Edition augmentée. Bruxelles, 1768.

Sales rights: Available outside North America from HES & DE GRAAF Publishers.
Price: $ 115.00 other currencies Order nr. 103260

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Signed copy available upon request

Rosendorf, Theodore THE TYPOGRAPHIC DESK REFERENCE.
(TDR)
With a Foreword by Ellen Lupton New Castle, Delaware Oak Knoll Press 2009 5.5 x 8.5 inches Hardcover 152 pages
First edition. 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. Its foreword is written by Ellen Lupton.

Theodore Rosendorf began a career in graphic design with a set of pencils and a drawing pad. His first project was the identity for the Downwind restaurant at Atlanta's PDK Airport. Leaving the airport, Theodore's career has taken him to clients in the US and abroad for some of the world's most well known brands. He lives and works in Decatur, GA.
Price: $ 45.00 other currencies Order nr. 96672

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Rossen, Susan F. (editor) INLAND PRINTERS: THE FINE-PRESS MOVEMENT IN CHICAGO, 1920-1945.
Chicago The Caxton Club 2003 small 4to. stiff paper wrappers, smythsewn: drawn-on, hinge-scored cover; trimmed flush 40 pages.
Full color catalogue written for the Caxton Club exhibition Inland Printers: The Fine-Press Movement in Chicago, 1920-45, held at Columbia College in Chicago, January 15, 2003. Features writings of 12 Caxtonians including: John P. Chalmers, Robert A. Cotner, Kim Coventry, Celia Hilliard, Thomas J. Joyce, Arthur H. Miller, Frank J. Piehl, Susan F. Rossen, Michael Thompson, and James M. Wells. An Introductory essay written by Paul F. Gehl. Over 40 Illustrations detailing the history of the private fine-press movement in Chicago. Includes information on the Private Press of Will Ransom, the Trovillion Private Press, and the Pony Barn Press.
Price: $ 15.00 other currencies Order nr. 72548

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Rummonds, Richard-Gabriel NINETEENTH-CENTURY PRINTING PRACTICES AND THE IRON HANDPRESS
2 volumes. New Castle and London Oak Knoll Press and the British Library 2004 small 4to. unbound sheets 1152 pages
First edition. Nineteenth-Century Printing Practices and the Iron Handpress is encyclopedic in its examination of printing techniques from the late-seventeenth century through the nineteenth century. Using selected readings from printers' manuals - beginning with Joseph Moxon's Mechanick Exercises on the Whole Art of Printing, 1683, and culminating with John Southward's Practical Printing, 1900 - Gabriel Rummonds has distilled over two hundred years of printers' wisdom into this very readable and important work on iron handpresses and how they were used in the nineteenth century.
This remarkable work represents over twenty years of research and scholarship by one of the most celebrated fine press printers of the twentieth-century. With almost five hundred rare and scarce wood cuts, engravings and photographs, and the most comprehensive annotated bibliography on the subject ever printed, this monumental, two-volume work stands alone in the annals of printing history. Nineteenth-Century Printing Practices and the Iron Handpress is a worthy companion to Rummonds' 1998 classic, Printing on the Iron Handpress. Co-published with The British Library.

Set of unbound sheets suitable for binding (sewn and glued signatures without a case).
Price: $ 55.00 other currencies Order nr. 76433

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Southall, Richard PRINTER'S TYPE IN THE TWENTIETH CENTURY: MANUFACTURING AND DESIGN METHODS.
New Castle and London Oak Knoll Press and The British Library 2005 7 x 10 inches Hardcover, dust jacket 256 pages.
First edition. 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.

Richard Southall has been involved with type and typography since the early 1960s; in publishing, composing-machine manufacture and development, teaching, research and consultancy. All enthusiasts of typography and its fascinating history will enjoy this important work. Contains 150 illustrations. Co-published with The British Library. Sales Rights: North & South America only; available elsewhere from The British Library.
Price: $ 65.00 other currencies Order nr. 79701

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Stoltz, Ulrike and Uta Schneider <USUS>, TYPOGRAPHY, AND ARTISTS' BOOKS
Number four of the CODE(X) Monograph Series Berkeley, California CODEX Foundation 2010 16 pages paperback pamphlet 5.5 x 7.75 inches
Number four of the CODE(X)+1 Monograph Series. This book discusses typography in relation to the fields of graphic design, applied art, and book design. With contents and text already in a book, the book designer has to choose the correct typography and a medium that provides the reader with easy access to the subject matter. This book discusses type face, type style, type weight, type size, kerning, tracking, spacing, leading, and line length.
Price: $ 25.00 other currencies Order nr. 107486

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Updike, Daniel Berkeley PRINTING TYPES, THEIR HISTORY, FORMS AND USE
2 volumes in one. New Castle, Delaware Oak Knoll Press 2001 6.5 x 9 inches hardcover, dust jacket 1,088 pages
Third edition, reprinted with new introduction by Martin Hutner. This extraordinary work explores the art of typography from the dawn of printing to the twentieth century. By tracing the development of type design, Updike discusses the importance of each historic period and the lessons they contain for today's designers. The original two-volume set has been combined into one book containing the original 367 typographical illustrations selected from rare and beautiful books. Updike's well-written text constitutes a running commentary on the historical and artistic significance of these illustrations, which exemplify the best work of printers and type founders from Gutenberg to Bruce Rogers. In Volume I, Mr. Updike discusses the Latin alphabet, the invention of printing, the cutting and casting of types, fifteenth-century types in Germany, Italy, France, Spain, and England, as well as German, Italian and French types of the sixteenth, seventeenth, and eighteenth centuries. Volume II continues the discussion of types to the beginning of the nineteenth century and then describes American types and nineteenth-century types in general. The closing chapters on choice of type and the industrial conditions of the past and their relationship to problems printers face are very informative. Co-published with The British Library.
Price: $ 85.00 other currencies Order nr. 63429

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Vervliet, H.D.L SIXTEENTH-CENTURY PRINTING TYPES OF THE LOW COUNTRIES. WITH A FOREWORD BY HARRY CARTER.
Amsterdam HES & DE GRAAF 1968 4to. cloth. xxv, 366 pages.
This pioneer work is an annotated catalogue, illustrated with specimens of the types made during the sixteenth century in the area now covered by the Netherlands and Belgium. The influence of the sixteenth-century typecutters was considerable; in fact, many of their type faces, described in this book, were to be found in English printing offices of those days and even much later. With 267 facsimile-illustrations depicting 147 type specimens.

Sales rights: Available outside North America from HES & DE GRAAF Publishers.
Price: $ 450.00 other currencies Order nr. 103261

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Vervliet, Hendrik D.L. FRENCH RENAISSANCE PRINTING TYPES: A CONSPECTUS
New Castle, Delaware, and London Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010 8.5 x 11.5 inches Hardcover 472 pages
A majority of today's Western text types, whether Roman, Italic, Greek, or Hebrew, derive from type designs conceived or perfected in sixteenth-century France. They became available all over Europe from the 1540s onwards. Their design, often going by the name of Garamont, remained unchanged for two centuries. Their pleasant serenity and excellent readability triggered a revival from the 1850s onwards.

This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence.

The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.

Author Henrik D.L. Vervliet was previously Librarian at the University of Antwerp and a professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history.

Available in the UK from The Bibliographical Society.
Price: $ 120.00 other currencies Order nr. 103920

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Vervliet, Hendrik D.L. VINE LEAF ORNAMENTS IN RENAISSANCE TYPOGRAPHY: A SURVEY.
New Castle, Delaware Oak Knoll Press and HES & DE GRAAF Publishers 2012 5 x 7 inches hardcover 416 pages
This new study from respected typographical scholar Hendrik Vervliet is the first published history of the sixteenth-century vine leaf as a typographical ornament. Not only is it an important contribution to typographical history, but it also provides a useful tool for identifying and dating books without an imprint.

In the course of the early sixteenth century, decoration of the printed book underwent a double metamorphosis. Previous medieval floral embellishments, commonly copied from Islamic and Byzantine sources, were replaced by new motifs including strapwork, interlacing, scrolls, and denaturalized leaves and stems. At the same time, there was a gradual inclusion of cast ornaments into the printers bills-of-fount, replacing the prestigious and time-consuming hand-painted illumination and decoration, and the sometimes crude woodcut techniques.

This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today.

The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin. Illustrated with leaves throughout, the book details punchcutter, size, first and early appearances, and notes. A list of leaves in order of ascending width and a list by punchcutter or eponym are also included. These concluding lists are intended to assist in bibliographical research and provide inspiration for designers. In addition, through the examination of these typographic ornaments, this book provides a methodology for dating and locating books without an imprint.

Hendrik D.L. Vervliet has published books on humanism, bibliography, and book history. In 2011, the American Printing Historical Society presented him with its Annual Award for a distinguished contribution to the study of printing history.

Available in Europe from HES & DE GRAAF Publishers.
Price: $ 49.95 other currencies Order nr. 108912

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Signed copy available upon request

Young, Matthew McLennan THE RISE AND FALL OF THE PRINTERS' INTERNATIONAL SPECIMEN EXCHANGE.
New Castle, Delaware Oak Knoll Press 2012 8.5 x 11 inches hardcover, dust jacket 160 pages
The Rise and Fall of the Printers' International Specimen Exchange is the first in-depth study of an institution whose goal was nothing less than a renaissance of fine printing at a time when quantity mattered far more than quality. The Printers' International Specimen Exchange was founded in 1880, first and foremost as a means to encourage British printers to improve their technical and artistic skills, which lagged far behind those of their American and European counterparts. It came to be a far more international and influential institution than its originators imagined, its 16 volumes including the work of more than 1,000 printing establishments (several times that number of contributors, including employees and apprentices) from 28 different nations.

The story of the Specimen Exchange involves the development of new machinery and processes, "Old Style" vs. "Artistic" printing, the histories of the two innovative printing houses that managed the Exchange, cooperation and conflict among outsize personalities, and the extraordinary efforts of a few talented and dedicated people. The history of the Specimen Exchange also involves a Victorian-style hostile takeover and a separate breach-of-contract court case.

The Specimen Exchange is a record of a remarkable period in letterpress and lithographic printing. As a subscription publication distributed primarily to contributors, only a few hundred copies of each volume were issued, and many of the specimens were produced expressly for the Exchange. Consequently, some of the examples reproduced in this book have not been seen before outside the original volumes, and the selection presented here should delight any printing historian or admirer of good graphic design. This book includes 81 full-page reproductions of some of the best examples, in a wide range of styles and from many countries.

Matthew McLennan Young is a practicing graphic designer and book collector, and the author of a previous study, Field & Tuer, the Leadenhall Press, (Oak Knoll Press and the British Library, 2010) that earned positive reviews in the TLS, the Book Collector and elsewhere. He has presented papers on the Printers' International Specimen Exchange, the Caxton Celebration of 1877, and the Leadenhall Press at various conferences. He and his wife, Valerie, live in Hopewell, New Jersey.
Price: $ 59.95 other currencies Order nr. 108704

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(Zapf, Hermann) Kelly, Jerry ABOUT MORE ALPHABETS: THE TYPES OF HERMANN ZAPF
Foreword by Robert Bringhurst New York The Typophiles 2011 4.5 x 7 inches hardcover 112 pages
Typophiles Chapbook, New Series, 3. "Letterforms are things that nearly all of us in the Western world have learned to take for granted. We treat them much like door knobs, water taps, thermostats, and hinges. We evidently think (in defiance of all logic) that what we read or write matters far more than how it's read or written, and that letterforms are just a way to get there, as a door knob is a way to open a door," writes Robert Bringhurst in the Foreword to About More Alphabets. This book hopes to bring attention to a neglected topic by focusing on the letterforms of Hermann Zapf.

From metal type to the digital characters, Hermann Zapf has composed exceptional type designs for seventy years. He can be considered one of the most important calligraphers of all time, as well as a most notable book designer and typographer. His typefaces are among the most beautiful and familiar in the world. This book, a companion volume to the Typophile Chapbook About Alphabets (1960, updated 1970), describes Zapfs post-1970 type designs and provides new research on many of the earlier types.

In this volume, typographer and calligrapher Jerry Kelly describes the origins and history of numerous Hermann Zapf typefaces including Marconi, ITC Zapf International, Linotype Zapfino, and Zapf Civilité. Kelly also includes new information on the Palatino nova and Optima nova families. This new Typophiles Chapbook is profusely illustrated with type specimens and drawings, many of which have never before been reproduced. Illustrations include drawings by Zapf, comparisons of various types, early sketches, typefaces never issued, and a twenty-eight page image section of type specimens. Other types described include Hallmark Textura, AMS Euler fraktur bold, Zapf Renaissance italic swash, Medici script, Aurelia, AMS Euler, Zapf Renaissance, ITC Zapf Chancery, and Zapf Civilité.

Robert Bringhurst calls Zapf one of historys greatest two-dimensional architects. He says, "Hermann Zapf has made letters so subtle, so lovely they bring tears to knowledgeable eyes. And there are very few people who know Zapfs work as well as Jerry Kelly. Read him and weep."
Price: $ 35.00 other currencies Order nr. 107426

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(Zapf, Hermann) Kelly, Jerry ABOUT MORE ALPHABETS: THE TYPES OF HERMANN ZAPF
Foreword by Robert Bringhurst New York The Typophiles 2011 4.5 x 7 inches hardcover, slipcase 112 pages
Deluxe edition signed by the author and limited to 75 copies. Includes four type specimens in a paper folder and a slipcase for the book and specimen folder.

Typophiles Chapbook, New Series, 3. "Letterforms are things that nearly all of us in the Western world have learned to take for granted. We treat them much like door knobs, water taps, thermostats, and hinges. We evidently think (in defiance of all logic) that what we read or write matters far more than how it's read or written, and that letterforms are just a way to get there, as a door knob is a way to open a door," writes Robert Bringhurst in the Foreword to About More Alphabets. This book hopes to bring attention to a neglected topic by focusing on the letterforms of Hermann Zapf.

From metal type to the digital characters, Hermann Zapf has composed exceptional type designs for seventy years. He can be considered one of the most important calligraphers of all time, as well as a most notable book designer and typographer. His typefaces are among the most beautiful and familiar in the world. This book, a companion volume to the Typophile Chapbook About Alphabets (1960, updated 1970), describes Zapfs post-1970 type designs and provides new research on many of the earlier types.

In this volume, typographer and calligrapher Jerry Kelly describes the origins and history of numerous Hermann Zapf typefaces including Marconi, ITC Zapf International, Linotype Zapfino, and Zapf Civilité. Kelly also includes new information on the Palatino nova and Optima nova families. This new Typophiles Chapbook is profusely illustrated with type specimens and drawings, many of which have never before been reproduced. Illustrations include drawings by Zapf, comparisons of various types, early sketches, typefaces never issued, and a twenty-eight page image section of type specimens. Other types described include Hallmark Textura, AMS Euler fraktur bold, Zapf Renaissance italic swash, Medici script, Aurelia, AMS Euler, Zapf Renaissance, ITC Zapf Chancery, and Zapf Civilité.

Robert Bringhurst calls Zapf one of historys greatest two-dimensional architects. He says, "Hermann Zapf has made letters so subtle, so lovely they bring tears to knowledgeable eyes. And there are very few people who know Zapfs work as well as Jerry Kelly. Read him and weep."
Price: $ 170.00 other currencies Order nr. 109481

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