Bookshop – Books Part 1
Our Service for you: Linotype has gathered together some excellent books on type and typography.
This shop is brought to you in association with Amazon.com.
| Book | by Heidrun Osterer, Philipp Stamm, Susanne Dickel, and Dylan Spiekermann |  |
| Description | The definitive book on the design career of Adrian Frutiger has just been published. This is a must-have for any Frutiger or typography fan!
The book may be ordered in English, French, or German editions. |
| Book | by Stephanie de Jong and Ralf de Jong |  |
| Description | Some individuals rely on a single typeface for their entire lifetimes. Others can sort through thousands of fonts and still never find the right one for the given moment. Between these two poles, most graphic designers may be found. They pine for typographic orientation and decision-making assistance! For all the members of this group, the Hermann Schmidt publishers in Mainz have released the book “Schriftwechsel” (currently available in German only). Over 300+ pages, the book’s authors Ralf and Stefanie de Jong present their favorite fifty text typefaces; 200 additional selections are also listed, to encourage comparison. The criteria behind their selections is anything but subjective; there is a not unpopular view that designers should just be able to “feel” which typefaces are the correct choices. But “Schriftwechsel’s” authors believe that this situation is just unbelievable, and impossible to objectively ground. Therefore, they suggest more important criteria, such as legibility, readability, and reader comfort, as well as technical aspects including rasterization and format, cost and service, internationality, and the differences between typefaces old and new. “Schriftwechsel” is not a marketing instrument; the book strengthens your decision-making ability. It is a guide that propagates formal and economic criteria for the correct selection of typefaces … a must-have for all designers. |
| Book | by Christopher Burke |  |
| Description | Jan Tschichold (1902–1974) is considered by many to be the most influential typographer of the twentieth century. A leading voice of the modernist movement, Tschichold oversaw the redesign of the Penguin and Pelican paperbacks in the late 1940s and devised for them a standardized set of typographic rules. The classical type designs of his late career qualify him as perhaps the first typographic postmodernist. Active Literature, an in-depth study of Jan Tschichold’s modernist period, is based on extensive archival research that uncovered a wealth of new photographs of his design work. Author Christopher Burke presents a full portrait of the designer’s career and puts into context Tschichold’s own account of his life and work. |
| Book | by Philip Meggs |  |
| Description | Presents hundreds of full-color images & new material in many areas, including alphabets, Japanese & Dutch graphics, & the computer revolution which has impacted all aspects of contemporary design & communications.
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| Book | by Alexander Lawson |  |
| Description | This book describes in great detail the traits and development of the 20th Century’s most popular book faces. Although Lawson does not specifically cover new digital font designs, most of today’s text faces are revisions or expansions of typefaces designed in the pre-computer era. Over a dozen typefaces are critically examined in this masterful tome; this book is a must for any type historian! |
| Book | by David Consuegra |  |
| Description | This unique reference-more than 10 years in the making-chronicles the history of type in America through the typefaces and biographies of 62 of the most influential type designers. With coverage of 334 typefaces, complete with samples from both obscure and known publications, this eye-popping reference reveals the contribution America has made to the world of type by Linn Boyd Benton, Morris Fuller Benton, Washington Ludlow, and other legendary designers. An invaluable addition to the bookshelf of every graphic designer, art director, or anyone else who works with type! |
| Book | (German) by Max Bollwage |  |
| Description | Anyone interested in the history of the development of the alphabet and individual typefaces will be fascinated by this book. |
| Book | by Fred Smeijers |  |
| Description | A must read. Provides a lot of basic information, very valuable to modern type designers. |
| Book | by Michael Harvey |  |
| Description | Creative Lettering Today brings together between its covers a quartet of lettering arts: drawing, calligraphy, carving, and digital lettering. Michael Harvey, an English lettering designer and teacher who has taught often in the Untied States, was already a calligrapher, carver, and type designer, used to drawing every character of a font, when he was commissioned by Adobe Systems to design a typeface. So Harvey moved from the world of hand craftsmanship to that of high technology, and in Creative Lettering Today he demonstrates the full range of techniques - manual and digital - open to those who wish to explore lettering design. Harvey addresses all those who for whatever reason wish to pick up pencil, pen, brush, chisel, or mouse, providing the ideal introduction to the lettering arts. |
| Book | (German) by Günter Schuler |  |
| Description | The number of available typeface fonts is in the hundreds of thousands. Typo Atlas contains detailed background information and a number of tricks of the trade. |
| Book | (German) by Paul Renner |  |
| Description | Paul Renner, the designer of the world famous Futura typeface, was also an accomplished artist, typesetter, and professor. In 1940, he published his typographic theories in a book of his own. This reprint of the original contains typesetting and design tips that are still relevant in today’s digital desktop publishing world, as well as over 70 pages of typographic terms, definitions, and old type samples, creating a peak into what was typographically “in” during the first half of the 20th Century! In addition to being a beautifully designed textbook in its own right, this book shows just how well Futura can be used as a normal text face – the whole book, naturally, was set with it. |
| Book | by Rudy VanderLans, Zuzana Licko |  |
| Description | Oversized to do justice to its highly pictorial contents. Emigré’s ninety-six 11" X 15" pages brimming with ground-breaking Mac-generated typography, illustration, and graphic design culled from the pages of Emigré magazine. |
| Book | by Victor Malsy and Lars Müller |  |
| Description | Released in time for the 2007 Frankfurt Book Fair, this is a new book about a famous typeface.
Created in 1957, Helvetica is an icon of Swiss graphic design, which in turn was a model of soberly functional communication during the postwar era. The balanced and neutral appearance of Helvetica foregoes expressiveness – a quality for which the design has both been criticized and admired. This polarization has helped the typeface gain unparalleled notoriety.
Helvetica is one of the most widely used types today. Helvetica forever retraces the design’s fifty-year history, comparing it with other well-known sans serif faces from the twentieth century, and examining the phenomenon of its unparalleled spread. The book’s illustrations show the multitude of ways that the family has been used over the past five decades, including examples from a wide variety of fields – everything from signal design to party flyers! |
| Book | by John D. Berry |  |
| Description | Language Culture Type grew out of the first international type-design competition, the 2001 bukva:raz!, whose goal was to promote global cultural pluralism, interaction, and diversity in typographic communications. The book lavishly presents the winning entries, along with information about each typeface, its language, and its designer. A series of essays gives context for the interplay of types and languages in the world today – including the attempt to mesh all existing scripts into a single digital encoding system called Unicode. It also delves into the specific issues around developing typefaces for the many linguistic cultures in the world, from the various Cyrillic letterforms to Vietnam’s ancient ideographic script. |
| Book | by Walter Tracy |  |
| Description | A classic book on the construction of letterforms and typefaces. The book includes historical information on each of the type families and designers it examines. The chapter that discusses the correct spacing of letters is a classic. Highly recommended to anyone with a strong interest in typeface design. |
| Book | by Leslie Cabarga |  |
| Description | This book-a hands-on guide to the entire logo-making process-combines an enjoyable visual approach with extensive, industry-tested information. It puts the tools of innovative logo making into the hands of designers, giving them the expertise and inspiration they need to create their own lettering and art for truly unique logo design. |
| Book | (German) by Martina Fineder, Eva Kraus, and Andreas Pawlik |  |
| Description | Since the mid-1980s, technological developments such as the PostScript language have allowed everyday graphic designers to develop their own fonts, which they could then distribute on their own, alongside the established type foundries. This book covers the diverse history of type design during the PostScript era in German-speaking countries. Over 70 fonts are described, ranging from revised classics and vernacular interpretations to new experimental solutions for typographic communications. Accompanying this excellent visual selection are texts by the editors and essays from Robin Kinross and Walter Pamminger. This book is the companion to an exhibition that was organized by the Künstlerhaus museum in Vienna in 2002. All text is in German. |
| Book | (German) by Thomas Merz and Olaf Drümmer |  |
| Description | PostScript and Acrobat/PDF Bible: applications, troubleshooting and cross-platform publishing. |
| Book | by Erik Spiekermann and E. M. Ginger |  |
| Description | Authors show that type is easy to use, easy to understand, and in the hands of a savvy user, a powerful communications tool. You need no previous knowledge of typography to enjoy this book. |
