German typographer Paul Renner is best known as the designer of the typeface Futura, which stands as a landmark of modern typographic design. Paul Renner, still the only study in any language of Renner’s brilliant career, details his life and work to reveal the breadth of his accomplishments and influence. Christopher Burke presents a wealth of hithertounpublished materials, drawing on primary sources and archival research and clearly written with an eye to today’s reader. Beautifully designed, Paul Renner is an inspiring tour de force portrait of this typographer’s extraordinary career and his ongoing influence on the graphic arts.
The first and most authoritative history of wood type in the United States is now reissued in paperback. This book tells the complete story of wood type, beginning with the history of wood as a printing material, the development of decorated letters and large letters, and the invention of machinery for mass-producing wood letters. The 19th-century heyday of wood type is explored in great detail, including all aspects of design, manufacture, and marketing, and the evolution of styles. Many related trades interacted with wood type production; the book examines the influence of lithography, letterpress, metal-plate and wood engraving, sign painting and calligraphy, poster printing, and type-founding. Long out of print, the book is still regarded by scholars and designers as an invaluable resource for a rich legacy of typographic art. More than 600 specimens of wood type are classified and annotated, as are more than 100 specimens of complete fonts. This reissue includes a new foreword by David Shields, Design Curator of the Rob Roy Kelly Wood Type Collection at the University of Texas at Austin, discussing the renewed interest in the subject since the mid-1990s as well as ongoing research into the history of wood type.
We all know we’re not supposed to judge books by their covers, but the truth is that we do just that nearly every time we walk into a bookstore or pull a book off a tightly packed shelf. It’s really not something we should be ashamed about, for it reinforces something we sincerely believe: design matters. At its best, book cover design is an art that transcends the publisher’s commercial imperativesto reflect both an author’s ideas and contemporary cultural values in a vital, intelligent, and beautiful way.
In this groundbreaking and lavishly illustrated history, authors Ned Drew and Paul Sternberger establish American book cover design as a tradition of sophisticated, visual excellence that has put shape to our literary landscape.
By Its Cover traces the story of the American book cover from its inception as a means of utilitarian protection for the book to its current status as an elaborately produced form of communication art. It is, at once, the intertwined story of American graphic design and American literature, and features the work of such legendary figures as Rockwell Kent, E. McKnight Kauffer, Paul Rand, Alvin Lustig, Rudy deHarak, and Roy Kuhlman along with more recent and contemporary innovators including Push Pin Studios, Chermayeff & Geismar, Karen Goldberg, Chip Kidd, and John Gall.
The ‘great iconoclast of literary criticism’ reinvents the study of the novel. In this groundbreaking book, Franco Moretti argues that literature scholars should stop reading books and start counting, graphing, and mapping them instead. In place of the traditionally selective literary canon of a few hundred texts, Moretti offers charts, maps and time lines, developing the idea of “distant reading” into a full-blown experiment in literary historiography, in which the canon disappears into the larger literary system. Charting entire genres—the epistolary, the gothic, and the historical novel—as well as the literary output of countries such as Japan, Italy, Spain, and Nigeria, he shows how literary history looks significantly different from what is commonly supposed and how the concept of aesthetic form can be radically redefined.
Ever crack open a can of Chief Oshkosh of Wisconsin, or sample Pabst’s Big Cat Malt Liquor? Remember the original St. Pauli Girl, Tennent’s bevy of lager lovelies, or Olde Frothingslosh (“the pale stale ale with the foam on the bottom”)? Presented alphabetically by brand, the nearly 500 cans collected here come from thirty countries and range from the iconic to the obscure to the downright bizarre. From long-forgotten brews to classic brands that have changed their look but never gone out of style, Beer offers a peek into the last century of beer culture, exploring what we drank, how we drank it, and why we picked it off the shelf. While it may not be as refreshing as a frosty cold can of Bud, cracking open this book is certain to stimulate beer lovers and design fans alike.
History of the Poster, co-written by Josef and Shizuko Muller-Brockmann, is a landmark account of one of the most prolific visual traditions of our culture. Originally published in 1971, this seminal study is clearly written and richly illustrated. Now reprinted by Phaidon Press, History of the Poster is an essential read for anyone intrigued by this most modern medium. The book presents an exhaustive collection of posters, ranging from the end of the nineteenth century until the early seventies, when the book was published for the first time. Conceived, written and designed by one of the best and most influential poster designers of the twentieth century, the book defines the nature of a poster and indicates the laws of designing it. Muller-Brockmann defines and describes four fundamental conceptions of the poster, approaching the function-type of each and presenting an array of methods used to capture the attention of the viewer. The author employs sure aesthetic judgement in his selection of images as he guides us through the formation and evolution of style, emphasis and connotation in poster design. This reprint has not tampered with the original edition’s design or layout and stays true to Muller-Brockmann’s original concept.
Shakespeare’s First Folio, the first complete collection of his plays, was almost never printed. Its eventual publication went practically unnoticed, and many of the original 750 copies were gone before the turn of the eighteenth century. But a hundred years later the plays were rediscovered, beginning the long, surprising process that secured Shakespeare’s legacy. Paul Collins follows this book’s journey through the centuries, as it lies undiscovered for decades, burns, sinks, is bought and sold, and ultimately becomes untouchable.
What do typefaces and buildings have in common? A great deal, according to typographic design expert, and former university professor, Virginia Smith. Smith believes that typography is the unifying discipline through which we can understand, analyze, and compare form in a wide range of visual media. This visually delightful book sets out to prove that point, by studying forms - shapes and their varieties and permutations - in all of the other design arts. The main focus is on architecture, but the book also looks at fashion, furniture, and common artifacts. Smith believes that there is a “visual landscape” of periods in design, where all of the visual arts treat form in similar ways. FORMS IN MODERNISM identifies some of these similarities - including striping, skewing, stretching, compressing, and elongating - across media. All of her examples appeared in the first half of the 20th Century, and lasted from early European modernism up through the American mid-century and the International Style. More than just a book designed to prove a thesis, FORMS IN MODERNISM provides an interesting visual journey through the styles of the first half of the last century.
This critical study of graphic design and typography is a source for anyone interested in the art and history of books, letterforms, symbols, advertising, and theories of visual and verbal communication. A section on theory considers the centrality of the written and printed word to post-structuralism and deconstruction. A wide range of design practices are discussed, from the history of punctuation and the origins of international pictograms to the structure of modern typography. A section on media looks at the role of design in mass communications with essays on stock photography, visual journalism, illustration, advertising and vernacular design cultures. The book closes with history, a section organised as a time line spanning 200 years of design in America. These historical case studies show how the modern profession of graphic design emerged in response to cultural, political and economic developments in the US.
The Black Panther Party for Self Defense, formed in the aftermath of the assassination of Malcolm X in 1965, remains one of the most controversial movements of the 20th-century. Founded by the charismatic Huey P. Newton and Bobby Seale, the party sounded a defiant cry for an end to the institutionalized subjugation of African Americans. The Black Panther newspaper was founded to articulate the party’s message and artist Emory Douglas became the paper’s art director and later the party’s Minister of Culture.Douglas’s artistic talents and experience proved a powerful combination: his striking collages of photographs and his own drawings combined to create some of the era’s most iconic images, like that of Newton with his signature beret and large gun set against a background of a blood-red star, which could be found blanketing neighborhoods during the 12 years the paper existed.This landmark book brings together a remarkable lineup of party insiders who detail the crafting of the party’s visual identity.
The Obama presidential campaign was an innovation in American politics and American design. For the first time, a candidate used art and design to bring together the American people-capturing their voices in a visual way. The Design Director of the Obama campaign, Scott Thomas, has collaborated with artists and designers to create Designing Obama, a chronicle of the art from the historic campaign. Get the inside story on how design was used by the campaign, trace the emergence of ideas and images over the course of the election, and scope out the amazing art created by artists and grassroots supporters. It’s the definitive account of the vision of thousands of people across the United States — all in one volume. Using the same grassroots fundraising model as the campaign, the book was created through Kickstarter, a new company dedicated to funding creative endeavors through small donations by committed individuals. Using the Obama fundraising model was the perfect way to insure the book’s quality and integrity. People around the country supported the book, funded its creation, and changed the way we think about publishing. Now you can be part of the revolution. The 336-page hand-crafted book is hardbound with an embossed sleeve, and printed in a vivid six-color process.
Photographic essay that examines the popularity of this letterform in Mexico.
Typography Papers is an occasional book-length publication from the Department of Typography at the University of Reading (England) with a broad international scope, publishing extended articles relating typography to adjacent disciplines. Issue 6 is devoted to 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; the first English translation of the late GiovanniMardersteig’s brilliant and seminal essay of 1959 (“L. B. Alberti e la rinascita del carattere lapidario romano nel quattrocento”); James Mosley on Giovan Francesco Cresci’s formative influence on the form of Western handwriting and typefaces; an analysis of the grand inscriptional capitals which appeared on new buildings in Rome between 1585 and 1590; and Victor Gaultney’s innovative survey of how the character repertoire of the Latin alphabet has been extended to cater to languages without scripts.
This provocative survey reveals how four of the most destructive dictatorships of the 20th century - Nazi Germany, Fascist Italy, Soviet Russia and Communist China - used graphic design to sell their messages. Explores each regime’s distinctive strategies for seducing public opinion and infiltrating people’s lives, in media ranging from logos, flags, typefaces and posters to children’s books and figurines Remarkable archival photographs set the disturbingly powerful graphic devices in historical context. The perceptive text analyses how these four regimes established the most effective modes of visual propaganda, which were later adopted and adapted by many other dictatorships.
Tibor Kalman: Perverse Optimist is the definitive and exuberant document of the late Tibor Kalman’s work and ideas. This full-color, oversize title reveals Kalman’s thoughts on magazines, advertising, sex, bookstores, food, and the design profession. Product designs, stills and storyboards from his film and video projects, and spreads from his book and magazine work are included. The impressive list of contributors includes Kurt Andersen, Paola Antonelli, David Byrne, Jay Chiat, Steven Heller, Isaac Mizrahi, Chee Pearlman, Rick Poynor, and Ingrid Sischy.