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B4123. Lines to Live By / Gold B4123. Lines to Live By: Thoughts on being a 21st-century calligrapher by Mike Gold. 32pp. 8"x8". Paperbound.
Commercial artist and lettering designer Mike Gold shares his thoughts on making contemporary lettering, accompanied by 44 beautiful, full-color examples of his calligraphic compositions.
B4138. Lettering and Type: Creating Letters and Designing Typefaces B4138. Lettering and Type: Creating Letters and Designing Typefaces by Bruce Willen and Nolen Strals. 2009. 144pp. 7"x8.5". Paper
Authors and designers Bruce Willen and Nolen Strals examine classic design examples as well as exciting contemporary lettering of all stripes—from editorial illustrations 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. This latest addition to the best-selling Design Briefs series features a foreword by Ellen Lupton and hundreds of images and examples of work by historical and contemporary designers, artists, and illustrators, including Marian Bantjes, Stefan Sagmeister, Matthew Carter, Christoph Niemann, Steve Powers (ESPO), House Industries, Christian Schwartz, Margaret Kilgallen, James Victore, Abbott Miller, Sibylle Hagmann, Ed Fella, and many more. Throughout the book, interviews with type designers, artists, and graphic designers provide real-world perspective from contemporary practitioners.
B4137. Shadow Type: Classic Three-Dimensional Lettering B4137. Shadow Type: Classic Three-Dimensional Lettering by Steven Heller and Louise Fili. 2014. 352pp. 7"x9.8". Paper
This book presents a broad spectrum of examples of relief and shadow lettering -- from advertising, shop signs, billboards, posters, type-specimen books -- drawn from the nineteenth to the mid-twentieth centuries, a particularly rich period for these kinds of letters. The selections are from the United States, Italy, France, Germany, and the United Kingdom, as well as a few from other countries. This collection is packed full of ideas and inspiration -- you will find a surprising number of ways to give depth to letters.
B4136. Sketchbook Project World Tour, The / Peterman B4136. The Sketchbook Project World Tour by Steven Peterman. 2015. 224pp. 8.2"x10.2". Paper
Destined to go down as one of the era's most astonishing global art projects, the Brooklyn Art Library's Sketchbook Project has, in less than a decade, amassed more than thirty thousand sketchbooks submitted by people of all ages and artistic abilities from more than 130 countries. Bursting with color, vivid imagery, and bouts of whimsy mixed with deeply intimate insights, the sketchbooks capture the texture of personal experience in a dizzying variety of illustrative styles and layouts that run the gamut from street portraits to stream-of-consciousness doodles, comics, and pop-ups. This volume presents the most compelling, surprising, and visually stunning examples from this one-of-a-kind artistic treasury.
B4141. Classic Book Jackets: The Design Legacy of George Salter/Hansen B4141. Classic Book Jackets: The Design Legacy of George Salter by Thomas Hansen. 2004. 200pp. 8.2"x9.8". Paper
It's said that you can't judge a book by its cover. George Salter, a legendary figure in the field of book design, never subscribed to this belief. For more than forty years, his beautifully drawn and lettered covers served as elegant windows onto the works of such revered authors as Albert Camus, John Dos Passos, Jack London, and Thomas Mann. Salter had the rare ability to reduce the illustrated dust-jacket -- a new part of the book package -- to its essential elements. He could visually evoke -- with typography, calligraphy, and pictorial imagery -- the contents of any given book.
B4176. Studio Handbook: Lettering & Design B4176. Studio Handbook: Lettering & Design by Samuel Welo. 2017 (1931). 232 pp. 4.75"x7.25". Softcover.
This beautifully designed little book reflects the elegance of the Art Deco period and will prove a useful and entertaining resource for modern typographers and graphic artists. In addition to demonstrating the appeal and effectiveness of great lettering, it abounds in material that designers can adapt - borders, ribbons, dingbats, rules, and more. Like the 1931 first edition, it is printed in two colors and graced with a decorative hardcover binding.
Reprint of the Frederick J. Drake & Co., Chicago, 1931 edition.