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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.
B4201. Edward Johnston: A Signature for London / Taylor B4201 Edward Johnston: A Signature for London by Richard Taylor. 96pp. 7"x9". Paperback.
It’s one of the most iconic features of London life, yet perhaps the least celebrated: the Johnston typeface, which has decorated signage throughout the entire London Transport system for a century. This book celebrates the Johnston typeface and its creator, Edward Johnston (1872-1944), bringing him long-overdue recognition as one of the key creators of our shared visual image of London life.
Richly illustrated with images from the London Transport Museum - including maps, posters, station signage, and much more - the book traces the evolution of the Johnston typeface from its first use in 1916 through the many subtle changes it’s undergone in the century since, all the way up to its broad deployment for the 2012 London Olympics. No lover of London life or transportation buff will want to miss this beautifully designed and produced volume.
B4030. Eternal Letter, The / Shaw B4030. The Eternal Letter: Two Millennia of the Classical Roman Capital edited by Paul Shaw. 2015. 264pp. 9.125"x11.5". Hardcover.
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This is a lavishly illustrated examination of the enduring influence of the classical Roman capital letter. Its chapters - by highly regarded practitioners in the fields of typography, lettering, and stone carving - discuss the subtleties of the classical letterforms, different iterations of it over the years, and the work of famous typographers and craftsmen. Contributors include John E. Benson, Nicholas Benson, Matthew Carter, Ewan Clayton, Lance Hidy, Jost Hochuli, Jonathan Hoefler, Richard Kindersley, Scott-Martin Kosofsky, Gerry Leonidas, Martin Majoor, Steve Matteson, James Mosley, Tom Perkins, Yves Peters, Werner Schneider, Paul Shaw, Julian Waters, Maxim Zhukov.
B2818. Anatomy of a Typeface/Lawson Anatomy of a Typeface by Alexander Lawson. 2002. 432pp. 6"x9". Paper
Alexandar Lawson was one of my type professors at RIT. He was a seemingly endless store of knowledge on typefaces. This book, written for the lay person, is a great and thorough introduction to type and historical typefaces.
Lawson explores the vast territory of types, their development and uses, and their antecedents and offspring, with precision, insight, and clarity. Written for the layman but containing exhaustive research, drawings, and synopses of typefaces, this book is an essential addition to anyone's typographic library. It is, as Lawson states, "not written for the printer convinced that there are already too many typefaces, but rather for that curious part of the population that believes the opposite; that the subtleties of refinement as applies to Roman and cursive letters have yet to be fully investigated and that the production of the perfect typeface remains a goal to be as much desired by present as by future type designers." Anyone aspiring to typographic wisdom should own and treasure this classic.