Brook, Tony & Shaugnessy, Adrian:

London: Unit Editions, 2012. Very heavy large 4to hardcover with jacket and original box - white lettered red cloth with wrap-around band. Box with wear to corners, book itself completely unharmed, in fine, very well preserved and clean condition. 448 pages. Illustrated richly. First edition, 1st prinring - the limited numbered printing, this being # 1806. The monograph features hundreds of examples of Lubalin’s work (many never before published), and previously unseen photographs of him at work and play. Divided into sections on his work in Advertising, Typography and Editorial, it features an extensive biographical text by Adrian Shaughnessy that includes interviews with George Lois, Seymour Chwast, Alan Peckolick, Carl Fischer, Steven Heller, and members of the Lubalin family. Due to weight foreign shipping will be extra - please inquire before ordering this item!

Brooklyn: Powerhouse Books, 2014. Large heavy oversized hardcover complete with clear see-through dustjacket. xxix-270pp., illustrated throughout in color. Minor wear to the jacket else a clean and well preserved copy. First edition, 2nd printing.

London: Unit Editions, 2014. Heavy 4to in wraps with dustjacket and slipcase as issued. 310 pages. Illustrated richly. Slipcase a bit worn, book jacket sunned, ese very well preserved clean copy. In all a very good copy. First edition. "Supernew Supergraphics reflects the numerous ways in which graphics are invading public spaces and disrupting the sometimes-staid world of public architecture. It’s a compendium of graphic excess on a monumental scale. It features new work from around the globe, and interviews with leading practitioners Felice Varini, Sascha Lobe, Sara De Bondt and Boa Mistura. The book’s design by Spin is a tour de force of graphic expression. The cover pays homage to the originators of Supergraphics in the 1960s – a group of radical architects who broke the unwritten rule that you never paint on architecture. Not only did they apply paint to architecture, but they always made sure the graphics were too big for the surfaces they were applied to. This is echoed in the cover for Supernew Supergraphics." - "Supernew Supergraphics is a collection of the best architectural, environmental and interior graphic design. This all-new book shows how the current generation of designers and architects are blasting typography and graphic forms across walls – even landscapes. It shows how they are distorting space and warping entire buildings with color, typographic messages and abstract shapes."

London: Unit Editions, 2017, First RED Edition (From original Kickstarter campaign). Large oversized very heavy hardcover with jacket. 385 pages, richly illustrated. First edition - . From Foreword: "Time is slippery stuff. Over 30 years have passed since the first issue of Octavo was delivered to various London bookshops and mailed out to subscribers in grey card envelopes. Thirty years seems a reasonable distance to look back on a project with considered perspective, to establish the context, motivations and conditions under which it began, and to evaluate its merits and influence. Sincere thanks go to my former 8vo studio colleagues Mark Holt and Hamish Muir for putting this book together, and to our friends at Unit Editions for their belief in the importance of Octavo, and the decision to publish this volume as well as reprint all issues of the journal at 1:1 scale. Octavo Redux 1:1 gives students and those who have never seen the magazine the chance to view the whole series, along with a lot of background information and initial handmade design studies. It was never the intention that copies of Octavo would become collectors' items or be hard to find: the modest 16 pages plus cover and three-colour (+varnish) print specifications of the first issue attest to this. But it is heartening to consider that what started as a conversation in a pub in 1984, with my suggestion to Mark that we start a magazine, came to fruition and has had some life...". Foreign shipping will cost extra - please inquire before ordering this item!

London: Unit Editions, 2020. Thick 8vo in softcover with perforation as issued. 490 pages. Illustrated richly. Fine clean copy. 1. edition. "Studio Culture Now is the essential guide to setting up, running and developing a design studio. It offers bang up-to-date advice and guidance for designers working in a world of rapid change.: 'Studio Culture Now features in-depth interviews with a host of leading design studios. The interviewees share their experiences, insights, fears and joys, and reveal how they deal with the fundamentals and aspirations of studio life. Candid and generous, these extensive Q&As form a blueprint for anyone planning a studio practice, or anyone struggling with maintaining one. Topics covered include: getting jobs, working with clients, balancing creativity with profitability, accounting, hiring, promotion, wellbeing, and much more. The interviews, mostly conducted in the past few months, also reveal how studios are adapting to the changes brought about by the coronavirus pandemic. Featured studios include: Atelier Dyakova, Champions Design, Civilization, Design by Toko, DIA, ÉricandMarie, Formist, Google Design, GUNMAD / Or Type, Hansje van Halem, Helmo, Hey Studio, Hubertus Design, Jade Purple Brown, Julia, Morcos Key, My Name is Wendy, Neubau, Office of Craig, OK-RM, Parámetro Studio, Peepshow, ps.2, Regular Practice, Sara De Bondt studio, Sarah Boris Studio, Studio Rejane Dal Bello, Vrints-Kolsteren, WeShouldDoItAll, YesYesNo...'

Published by Niggli, 2003. English, 160 Pages, 390 illustrations, 22 x 27.5 cm, clothbound hardcover with dustjacket. Fine copy. Typographic design begins with a set of information and a concept. The designer, facing a blank sheet of paper or a computer screen, is anxious about the first step to take in developing a design. The elements of typography are an obvious starting point, but often do not get the attention they deserve. A thorough understanding of how letters, words, lines, paragraphs and columns are formed, what makes them unique as design elements, and how they express character and emotion are the most essential tools in the designer’s repertoire. The basic principles of typographic design transform the utilitarian quality of words, lines, paragraphs and columns into an aesthetic form that conveys both the intellectual meaning and emotional feeling of the message. Through the relationship between the elements and space, and their rhythm and composition, design not only objectively conveys information but also gives subjective cues for the interpretation of its contents. As a visual form of language, typography is perceived as a whole before its individual parts are read. The surface characteristics of the design – the topology – create the first impression and derive from the form, size, position, and color of the typographic elements. Captured in a series of transparent diagrams, they reveal a new design dimension and animate the designer to further develop the original conceptual idea. This process provides the designer with a tool for refining, altering, adjusting, deconstructing and reassembling the individual levels to create a finely detailed, cohesive typographic composition.