Mau, Bruce:

Published by Niggli, 1999. German | English, 304 Seiten / Pages, 600 illustrations, 23 x 28 cm, cloth binding with jacket. First edition. "Max Bill (1908–1994) is primarily associated with the terms “Concrete Art” and “Environmental Design”. He was active in nearly every area of art and design, which were universal concepts for him. Furthermore, his theoretical publications have turned him into one of the most fruitful stimulators of Modern Concrete Art in post-war Europe among the Bauhaus generation of students. This volume offers a comprehensive view into an area of his work that has so far received little attention: typography, advertising and book design. It shows for that almost everything that the Swiss Avantgarde movement accomplished during the 1930s was visualized in Bill’s studio “bill-zürich reklame”. The reader discovers Max Bill as the tireless creator of highly individual types, commercial logos and advertisements as well as an exceedingly versatile designer who had an amazing command of “visual humor”. This publication presents Max Bill’s less known work as a visual designer, highlights his influence in the field, with numerous examples of his typefaces and logos, as well as the complete works of his studio “bill-zürich reklame”. " Due to weight shipping will cost extra for this item - please inquire before ordering.

New York: Phaidon 2020. Glossy "silk" covered hardcover, no jacket as issued. 511 pages, richly illustrated. Only minimal shelfwear. Fine copy. 1st edition.

Zurich: Lars Muller Publishers, 2014 (2000). Oversized heavy book in wraps as issued. 520 pages, 450 illustrations. Text in both German and English. Fine, almost as new copy - see photo. "Since the 1970s, Wolfgang Weingart has exerted a decisive influence on the international development of typography. He instilled creativity and a desire for experimentation into the ossified Swiss typographical industry and reflected this renewal in his own work. Countless designers have been inspired by Weingart's teaching at the Basle School of Design and by his lectures. In Typography, Weingart gives an unusual and frank narrative of his early life and development as a designer. This long-awaited reprint of Weingart's opus magnum gives a comprehensive survey of 40 years of his work.". Foeign shipping will cost extra - please inquire before ordering this item!

Bern, Brigitte Schuster Éditeur, 2014. 24 x 16 cm. 256 pp. Softcover. Illustrated in colour. - Between 2010 and 2013, editor Brigitte Schuster interviewed thirteen prominent Dutch book designers, reproduced here along with a wealth of images of the designers and their work, much of which has never before been reproduced. Joost Grootens - Karen Polder - Ron van Roon - François Berserik - Armand Mevis - Hansje van Halem - Walter Nikkels - Robbert & Oscar Schrover - Caroline de Lint - Bram de Does - Tessa van der Waals - Adriaan de Jonge. - Fine copy.

Published by De Buitenkant, Amsterdam, 2021. 4to heavy hardcover. 335 pages, richly illustrated. Binding with minor wear, upper front corners lightly dented else overall a very good clean copy. 1st ed. " Gerard Unger's body of work presents a case study in the development of modern type design, unfolding alongside the rapid technological changes that have transformed typesetting and publishing during the last fifty years. After an auspicious initiation by making a counter-proposal to Wim Crouwel's famous New Alphabet (1967), Unger became a principal designer of new typefaces for the first digital type composing machine, the Hell Digiset. He attempted to design type specifically for the technology, specifying precise bitmaps instead of drawing outlines. Subsequent developments in font engineering allowed more subtlety into his designs, resulting in a series of classic typefaces that included Demos, Praxis, Swift, and the truly original sanserif cursive Flora. With the transition to desktop type-design systems, Unger began to digitize and market typefaces himself, scoring a particular success with the innovative, space-saving type Gulliver. Commissions for Dutch road-signs and for millennial celebrations in Rome led to further adaptable typefaces, such as Capitolium and Vesta. Christopher Burke documents Unger's career in type design, with numerous illustrations, but also examines his writing on the subject, which reflected a lifelong quest for the root of convention in reading and in type-forms. The book is completed by extensive appendices, including a reproduction and translation of Unger's exhibition at the Stedelijk Museum (1977), where he began to develop a theory of type design."

Verlag Hermann Schmidt 2016. 21 x 5.5 x 6 cm. 560 pages or 280 sheets printed on both sides in three different spot colors. 264 fonts sorted by similarity and presented in their effect on paper. Handling wear to slipcase else fine. Choosing the right font is becoming increasingly difficult with the explosive growth in the number of fonts. Here is a practical tool for everyday use with type. It shows you 264 classic and very current text fonts from major foundries and newcomers scouted for you. Within the categories, we have sorted the fonts according to stylistic similarity and arranged them diagonally on the page so that you can make a direct comparison when selecting. We have deliberately limited ourselves to fonts that are particularly suitable for typesetting larger volumes. And of course, where available, we show small caps, old style figures, and all typefaces from extralight to ultrabold, and tell you where to buy them. Fans have backs, and even with good old vinyl, connoisseurs have discovered many a treasure on the B-side. That's why we use the back of the fan sheets to recommend italics. Indispensable for complex typographic challenges anyway, and also as an inspiration for the emancipation of italics.