Josef Muller-Brockmann (1914 1996) studied architecture, design and history of art in Zurich and worked as a graphic designer and teacher. His work is recognized for its simple designs and his clean use of fonts, shapes and colors, which still inspires many graphic designers throughout the world today. Since the 1950s grid systems help the designer to organize the graphic elements and have become a world wide standard. This volume provides guidelines and rules for the function and use for grid systems from 8 to 32 grid fields which can be used for the most varied of projects, the three-dimensional grid being treated as well. Exact directions for using all of the grid systems possibe presented are given to the user, showing examples of working correctly on a conceptual level. Or simply put: a guidebook from the profession for the profession. one of the most important books in the field since over 30 years comprehensive overview of grid systems exact directions and instructions covering all grid systems that are needed made by a professional for professionals

Latin paleography of the classical period and beyond the Carolingian era has been well studied and described. But from about 1100 onwards we find a period of increasing national divergence in the character of book-hands used for writing, formal MSS. In this book Professor Thomson provides 132 characteristic specimens of the period 1100 1500, reproduced by lithography (in all cases in the original size). He excludes curial or chancery hands. Opposite each plate is a transcription of several lines. Above this, Professor Thomson provides comments on the distinguishing characteristics of the script. Cumulatively, the effect of these analyses is to provide a method of dating late medieval MSS and ascribing them to their country of origin.

This is the workbook companion to Katja Haas's `Brush Lettering and Watercolour'. It offers plenty of space for your own lettering and watercolour creations, as well as a compact overview of the basics of brush lettering and instructions for writing and decorating with brushes.

This comprehensive collection offers a thorough overview of typeface design from 1628 to the mid-20th century. Derived from a distinguished Dutch collection, a series of exquisitely designed catalogues traces the evolution of the printed letter via specimens in roman, italic, bold, semibold, narrow, and broad fonts. Borders, ornaments, initial letters, and decorations are also included, along with lithographic examples, letters by sign writers, inscription carvers, and calligraphers. The first part of the book covers pre-20th-century typefaces, with texts by editor Cees de Jong and collector Jan Tholenaar. The second part deals with the period from 1900 to the mid-20th century, and contains a historical outline by Alston W. Purvis. Featured type designers include: William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, and Adrian Frutiger.

The Graphic Art of Tattoo Lettering is a visually led, comprehensive guide to designing and realizing hand-drawn letterforms in the most widely used contemporary tattoo styles. Each chapter constitutes an accessible overview to these key tattoo styles, including an account of the history, complexities and relevant sub-styles, interviews spotlighting leading practitioners, galleries of exemplary artists work, sketches, sketchbooks, finished designs and detailed how-to-design guides to allow readers to truly understand each style.

More than a step-by-step, technical handbook for professional and practising tattoo artists, The Graphic Art of Tattoo Lettering is also an informative introduction to both understanding tattoo styles, their history and context, and learning from them to inform other graphic arts. Touching on the role of lettering in tattooing, as well as considering the components of typographic tattoos, it offers an insight into how tattoo art intersects with other areas of design practice, including sign-making, furniture painting and scrimshaw.

Combining great book design with the inimitable expertise of a master tattoo artist, The Graphic Art of Tattoo Lettering is the ultimate guide for all with an interest or involvement in tattoo art, typography and calligraphy, and graphic design.

Typeface combinations don't always work together naturally. For an experienced designer, the process becomes largely intuitive after years of practice, but even seasoned professionals sometimes struggle to come up with the perfect typeface pairing. It's often obvious what not to use, but it's less obvious what you should use when a range of good typefaces can differ in very subtle ways. Developed with typographers, graphic designers and font geeks in mind, Type Team is the ultimate guide for anyone wishing to get to grips with the best techniques for combining individual typefaces from all classifications and styles for any category of creative project. It explores 150 typeface combinations grouped into 25 contrasting categories, ranging from Classical and Scholarly to Edgy and Vibrant, and with a full page devoted to each entry. In addition, 50 typographic principles are paired with selected combinations and illustrated using the typefaces from the spread. Within the pages of this unique reference for font spotters, designers, and users, the perfect typeface combination for any creative project can be found.

Revisit the lost art of writing with these fun prompts, worksheets, exercises—and more!—and experience the many benefits of writing by hand, including increased focus and memory, relaxation, and creative expression. Writing by hand may seem passé in the digital age, but it shouldn’t be dismissed as simply an activity for grade schoolers—it offers countless benefits that have been studied by researchers, brain neurologists, therapists, educators, and others who are invested in helping handwriting thrive in an age of advancing technology. Handwriting may be slower than typing—but this gives your brain more time to process information, and stimulates neurological connections that aid in memory, focus, and composition. The process of handwriting can also have a soothing, calming effect and can even serve as a great form of meditation. And of course, it’s a great way of expressing your individuality and personal style. The Lost Art of Handwriting explores the history of writing longhand, and reintroduces proper stroke sequences, letter forms, and techniques for evaluating and improving your handwriting. You will discover how the amazing variety of letter forms provide endless opportunities for making these alphabets your own, and how to choose alternatives that fit your preferences while keeping your writing neat, consistent, and unique to you. You’ll learn how to connect letters in cursive writing to help you write more smoothly, and with practice, more efficiently. Learn how easy it is to apply what you’ve learned into your everyday life with tips for integrating handwriting practice into already jam-packed schedules. Soon, you’ll notice a steady increase in the relaxation, value, and joy that handwriting offers to everyone who persists in putting the pen or pencil to paper.

The projects in this book began as a list Stefan Sagmeister found in his diary under the title "Things I have learned in my life so far." Given an incredible amount of freedom by some of his clients, he began transforming these aphorisms into typographic works; they have since appeared as French and Portuguese billboards, a Japanese annual report, on German television, in an Austrian magazine, as a New York direct mailer and as an American poster campaign. Taken together, the collection is part design project, part work of art, part examination of the pursuit of happiness. To this end, noted designer Steven Heller, art critic and curator Nancy Spector and psychologist and Happiness: The Science Behind Your Smile author Daniel Nettle contribute essays to the book. The new edition contains three additional signatures (48 pages) covering new works, such as the Dietch Gallery exhibition in SOHO that coincided with the book's opening and The Happy Film, a documentary that Stefan is launching next autumn.

Die Autoren beschreiben aus Herstellersicht betriebswirtschaftliche, technische und technologische Aspekte der Prozessintegration in der Print- und Medienindustrie auf Basis des Job Definition Formats. Es ist eine umfassende Darstellung der Thematik, die auf ersten Praxiserfahrungen von Herstellern, Instituten und Anwendern der grafischen Industrie beruht. Entscheidern der Print- und Medienindustrie wird mit diesem Buch ein Rahmen fur Investitionsentscheidungen in Software und deren Implementierung geliefert. Das Buch zeichnet sich durch seine einfache Sprache mit zahlreichen Begriffserlauterungen, Praxisbeispielen, erlauternden Grafiken und Checklisten aus.

The TeX and LaTeX typesetting systems have become the de facto standard for preparing complex technical documents in print and electronic form. "Digital Typography Using LaTeX" collects together the most frequently required ¿how to¿ information and tools. The book describes recent developments in multilingual typesetting using TeX that make it easy for users to prepare documents in their own languages and alphabets. In addition, it demonstrates how to develop a single document for use in camera-ready copy, World Wide Web pages, and portable electronic documents. Topics & features: * An ¿all in one,¿ comprehensive introduction to TeX and LaTeX, suitable for both those new to, and experienced with, the TeX software program * Provides detailed description of TeX¿s and LaTeX¿s new multilingual features, as well as how to combine languages into a single document * Provides details for obtaining and installing popular versions of LaTeX and necessary utility programs and tools * CD-ROM includes extensive utility programs, tools, and demonstrations presented in the book * Covers areas of advanced typography, such as the addition of Postscript or TrueType fonts to a LaTeX installation, and how to work with graphic images * Describes advanced typesetting systems, including Omega, Lambda, pdfLaTeX, and epsilon-LaTeX All scientists, engineers, and technical professionals who use LaTeX will find this volume a rich source of methods and tools for their desktop publishing needs.

Calligraphy and lettering, in chalk! Chalk art and lettering are all around: on menu boards at a favorite local coffee shop, brightening sidewalk easels at street fairs, and in lively artwork found in the home. Chalk art and lettering pros Amanda Arneill and Shannon Roberts have teamed up to provide friendly, step-by-step instruction in chalk lettering and art, teaching you all you need to know to create your own chalk masterpieces: - Getting started: the basics of making and seasoning your own chalkboards - Lettering: various alphabets and lettering styles - Illustration: steps and processes in chalk art, including banners, flowers and more - Design: brings lettering and art techniques together with guided chalk projects ideas

The art of lettering enjoys a high level of popularity due to the possibilities, uses, and techniques that gives artists the opportunity to experience, play, and enjoy while you create. There are more people now than ever who understand its potential and are dedicated to making "letters" full of beauty and individual style. Following the hand of authentic masters from around the world, newcomers can learn techniques, tips, and tricks from each artist.

This is the first comprehensive and in-depth study of the earliest figural painting ever to have been produced in Flanders on a continual basis. Most of the manuscripts are Psalters, but Bibles, a Breviary, a Missal, a Netherlandic life of a saint, and yet other texts occur. Three main categories of illuminator are distinguishable: those working in Bruges, in Ghent, and, at least in part, for the circle of the counts of Flanders. The principal chapters and the catalog segments are organized around their individual contributions. An arrangement in time and place of the total body of work was obtained through a lengthy and rigorous process of comparison of figural, ornamental and writing styles, codicological and textual features. Several distinctive Flemish patterns of Psalter iconography have emerged; these are presented in tabular form with accompanying commentaries. A surprising amount of information about the early owners of the books, mostly well-to-do members of the laity, was yielded in the analysis for the manuscript catalogs.

In Typeset in the Future, blogger and designer Dave Addey invites sci-fi movie fans on a journey through seven genre-defining classics, discovering how they create compelling visions of the future through typography and design. The book delves deep into 2001: A Space Odyssey, Star Trek: The Motion Picture, Alien, Blade Runner, Total Recall, WALL*E, and Moon, studying the design tricks and inspirations that make each film transcend mere celluloid and become a believable reality. These studies are illustrated by film stills, concept art, type specimens, and ephemera, plus original interviews with Mike Okuda (Star Trek), Paul Verhoeven (Total Recall), and Ralph Eggleston and Craig Foster (Pixar). Typeset in the Future is an obsessively geeky study of how classic sci-fi movies draw us in to their imagined worlds-and how they have come to represent "THE FUTURE" in popular culture.

A charming and indispensable tour of two thousand years of the written word, Shady Characters weaves a fascinating trail across the parallel histories of language and typography.

Whether investigating the asterisk (*) and dagger ( ) which alternately illuminated and skewered heretical verses of the early Bible or the at sign (@), which languished in obscurity for centuries until rescued by the Internet, Keith Houston draws on myriad sources to chart the life and times of these enigmatic squiggles, both exotic (

) and everyday (&).

From the Library of Alexandria to the halls of Bell Labs, figures as diverse as Charlemagne, Vladimir Nabokov, and George W. Bush cross paths with marks as obscure as the interrobang (?) and as divisive as the dash ( ). Ancient Roman graffiti, Venetian trading shorthand, Cold War double agents, and Madison Avenue round out an ever more diverse set of episodes, characters, and artifacts.

Richly illustrated, ranging across time, typographies, and countries, Shady Characters will delight and entertain all who cherish the unpredictable and surprising in the writing life."

The Visual History of Type is a comprehensive, detailed survey of the major typefaces produced since the advent of printing with movable type in the mid-fifteenth century to the present day. Arranged chronologically to provide context, more than 320 typefaces are displayed in the form of their original type specimens or earliest printing. Each entry is supported by a brief history and description of key characteristics of the typeface. This book will be the definitive publication in its field, appealing to graphic designers, educators, historians and design students. It will also be a significant resource for professional type designers and students of type.

In 14 original essays, The Oxford Illustrated History of the Book reveals the history of books in all their various forms, from the ancient world to the digital present. Leading international scholars offer an original and richly illustrated narrative that is global in scope. The history of the book is the history of millions of written, printed, and illustrated texts, their manufacture, distribution, and reception. Here are different types of production, from clay tablets to scrolls, from inscribed codices to printed books, pamphlets, magazines, and newspapers, from written parchment to digital texts. The history of the book is a history of different methods of circulation and dissemination, all dependent on innovations in transport, from coastal and transoceanic shipping to roads, trains, planes and the internet. It is a history of different modes of reading and reception, from learned debate and individual study to public instruction and entertainment. It is a history of manufacture, craftsmanship, dissemination, reading and debate. Yet the history of books is not simply a question of material form, nor indeed of the history of reading and reception. The larger question is of the effect of textual production, distribution and reception - of how books themselves made history. To this end, each chapter of this volume, succinctly bounded by period and geography, offers incisive and stimulating insights into the relationship between books and the story of their times.

Since the 1970s Wolfgang Weingart has exerted a decisive influence on the international development of typography. In the late 1960s 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 his 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. For the first time he gives a comprehensive survey of his works over the past forty years, most of which are unknown.

Jean Pucelle (fl. ca. 1319-d. 1334) was one of the most prominent artists of the first half of the fourteenth century, an influential illuminator who worked closely with a number of collaborators both known and anonymous. A large number of lavishly-illuminated manuscripts have been attributed to him based on stylistic analysis.Scholarly essays in this book explore issues crucial to the establishment of his distinctinve style: originality, technique, color palette, influence, levels of resemblance, the relationships between artistic media, and patronage. The contributors to this volume analyze the major works associated with Pucelle or the Pucellian style, and interpret pictorial elements in the tradition of artistic collaboration. This is the first collective work devoted entirely to Jean Pucelle and his legacy.With contributions by Barbara Drake Boehm, Pascale Charron, Marc Gil, Joan A. Holladay, Marguerite A. Keane, Mie Kuroiwa, Domenic Leo, Kyunghee Pyun, Anna D. Russakoff and Roger S. Wieck.

In this beautiful and extraordinary zen calligraphy book, Shozo Sato, an internationally recognized master of traditional Zen arts, teaches the art of Japanese calligraphy through the power and wisdom of Zen poetry. Single-line Zen Buddhist koan aphorisms, or zengo, are one of the most common subjects for the traditional Japanese brush calligraphy known as shodo. Regarded as one of the key disciplines in fostering the focused, meditative state of mind so essential to Zen, shodo calligraphy is practiced regularly by all students of Zen Buddhism in Japan. After providing a brief history of Japanese calligraphy and its close relationship with the teachings of Zen Buddhism, Sato explains the necessary supplies and fundamental brushstroke skills that you'll need. He goes on to present thirty zengo, each featuring: An example by a skilled Zen monk or master calligrapher An explanation of the individual characters and the Zen koan as a whole Step-by-step instructions on how to paint the phrase in a number of styles (Kaisho, Gyosho, Sosho) A stunning volume on the intersection of Japanese aesthetics and Zen Buddhist thought, Shodo: The Quiet Art of Japanese Zen Calligraphy guides both beginning and advanced students to a deeper understanding of the unique brush painting art form of shodo calligraphy. Shodo calligraphy topics include: The Art of Kanji The Four Treasures of Shodo Ideogram Zengo Students of Shodo