Baseline #2 (Letraset, 1979)

Baseline #2
1979
A4 size
Printed in black and brown pantone
24 pages

Published by TSI
Typographic Systems International Ltd. and Letraset Ltd

Cover: ’Gill‘, Photograph of Eric Gill by Howard Coster (Crown Copyright) and alphabet drawn by Gill for Gerad Meynell of the Westminister Press 1926

  • Belwe – a study in design’. Alan Meeks discusses the evolution of his typeface family‘The Belwe family has recently been added to the Letraset range. Its development illustrates the emphasis that Letraset places on producing its own designs, as well as relying on outside sources. Alan Meeks describes the evolution of his design. ‘My first design based on Belwe was called ‘Elizabethan’ designed in 1971. With this face I aimed to tidy up and modernise the original as much as possible. The curved top bars on the ‘r’, ‘v’ and ‘y’, for example, were cleaned and straightened up. The original ‘g’ was more or less totally reformed to make it more up to date.’ Mike Daines
  •  ‘BfG: Bank für Gemeinwirtschaft – a corporate identity’ by Wally Olins. The strategy behind the new identity designed for the Bank für Gemeninwirschaft and described by Wolff Olins.‘Wolff Olins, London, a leading international design group describe the development of a new typeface as an integral part of a corporate identity programme. This is the first in a series of articles exploring the part played by typeface design in corporate identity. It examines the development of the BfG typeface, the final artwork for which was produced in the TSI studio…’ Wally Olins
  •  ‘Facing the East – Introduction to Arabic script’. An introduction to Arabic script and a discussion of the aesthetic and practical applications of Arabic letter forms. Article by Walter Tracy.‘There are good reasons why graphic designers should know about the Arabic script, which is one of the most important in the world, used by nearly 600 million followers of the Islamic faith in many countries from Morocco to South-East Asia…’ Wolfgang Baum
  •  ‘Letters from America’ by the Editorial team. A review of the TDC-25 American Typography awards.
  • AWArD’79
  •  ‘The Type Designs of Eric Gill’ by Roy Brewer‘Arthur Eric Rowton Gill was born in Brighton in 1882 and apprenticed as an architect of the Ecclesiastical Commissioners in 1900. He married Ethel Mary Moore in 1904 and, three years later, joined a community of artist craftsmen in Ditchling, Sussex, where he did some printing and illustration. He left Ditchling in 1924 and lived in Capel-y-ffin in mis-Wales. No type designed by Gill was cut until 1925 (Perpetua) and most of his work in type design was done in collaboration with The Monotype Corporation. He was also a sculptor, and his work in this medium can still be admired in many places, such as Ariel and Prospero above the main doors of the BBC in Portland Place, and the stations of the, cross in Westminister Cathedral…’ Roy Brewer
  • Garth graphic – a new typeface
  • Letters to the editor
  • Newsline

©1979 Published by TSI Typographic Systems International Ltd. and Letraset Ltd.

For more informations, see the Baseline blog

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Viet Nam (La Guilde du Livre In4°, 1951)

Viet nam

Published by La Guilde du Livre In 4°
Switzerland
1951
Foreword by Paul Levy, ex-director of the Ecole Française d’Extrême-Orient (French school in Far East)

22,5 x 28,5 cm
Printed in rotogravure (héliogravure, in french)
Softcover with dustjacket
Design & layout by Simone Jeanson
Text written in french

Photography by Michel Huet, P.Verger, J-Y Claeys, & de S. De Sacy
‎Very high quality binding (it can be oponed completly without any problem.

More about the publisher (in French only).

COUV01 02 03 04 05 06 07 08 09 10 11 12  DER

helvetica plakat typespecimen

helvetica plakat
halbfett / mi-grasse

A4 size
written in German & French
No date (1960-1970)

composed of 2 parts:

  1. 18 independ sheets, printed in black ink-letterpress displaying the types in 6, 8,10,12,16 et 20 ciceros.
  2. 6 pages booklet printed in letterpress in 3 tones orange, black & grey.

The cover is mentionning:
helvetica plakat
halbfett/ mi-grasse
Haas’sche Schriftgiesserei AG / Fonderie de Caractères Haas S.A. Munchenstein1 / Suisse.

A pale pink zone appear on the center of the pictures, it’s a camera problem, it’s not appearing on the printed document.

 

Couvdetail1detail3garde103garde201 02  A B    detail2   derdecouv

Typographica 13 (H. Spencer, 1966)

TYPOGRAPHICA 13
Herbert Spencer [Editor]
London: Lund Humphries
(June 1966. First edition [New Series].
8.25 x 10.75 inches 
magazine with 78 pages printed on a variety of paper stocks.
Reproduction techniques for this issue include letterpress and offset-lithography.
Paper stocks include matte and uncoated.

Spencer’s legendary experimental typographic journal is covered by multiple constituencies since Spencer vocally championed emerging trends such as Concrete Poetry, Semiotics and avant-garde Book Design.

  • Tombstone lettering on slate
  • Hong Kong by Henry Steiner
  • Aesthetic pattern programmes by Eckhard Neumann
  • Type size : a system of dimensional references by Ernest Hoch & Maurice Goldring
  • Of the Just Shaping of Letters reviewed by James Sutton

Typographica was the brainchild of founder, editor, designer and renowned typographer Herbert Spencer, and had a brief life, totalling 32 issues published between 1949 and 1967. But its influence stretched and stretches far beyond its modest distribution and print runs of the time. For many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs, and techniques not seen since.

Spencer never intended to turn a profit, so no expenses were spared in production (just like Alexey Brodovitch’s Portfolio). Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter faces, street lettering, matches, and avant-garde poetry all found their way into the magazine.

Urbane, prolific and unfailingly modest, Spencer was a reformer dedicated to improving standards of design in a field dominated by the printing industry’s outdated conventions. But he was also an aesthete with a connoisseur’s eye for the wild modernist innovations with letterforms and layout of the 1920s. Spencer launched the seminal publication, Typographica, in 1949, when he was 25, and edited, designed and sometimes wrote for it for 18 years. Equally at home publishing one of the first articles in Britain about concrete poetry (then an international phenomenon), or an illustrated study of the design challenges presented by Braille, he was a new kind of designer-editor, able to think both visually and verbally, and to fuse images and words in meaningful new relationships.

All texts by Modernism101

This copy is for sell. Your attention, 6 pages are missing, 4 pages on the first article and 2 on the last one. The price is 95€ without shipping. 3 others complete issues are for sell too. Shipping cost can be grouped (shipping from France all over the world) Thanks.

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Tpographica 7 (H. Spencer, 1963)

TYPOGRAPHICA 7
Herbert Spencer [Editor]
London: Lund Humphries
(May 1963. First edition [New Series].
8.25 x 10.75 inches 
magazine with 78 pages printed on a variety of paper stocks.
Reproduction techniques for this issue include letterpress and offset-lithography.
Paper stocks include matte and uncoated.

Spencer’s legendary experimental typographic journal is covered by multiple constituencies since Spencer vocally championed emerging trends such as Concrete Poetry, Semiotics and avant-garde Book Design.

  • Thirty-six typographers : biographical notes
  • Piet Zwart by Herbert Spencer
  • Design underfoot by Anthony Robinson
  • Printed Ephemera rewieved by Nicolete Gray
  • Thematic photography by Euan Duff
  • Education and the child by R. B. Lendon
  • This is my private world… by Jane Gate
  • The Great Experiment reviewed by Jay Leyda

Typographica was the brainchild of founder, editor, designer and renowned typographer Herbert Spencer, and had a brief life, totalling 32 issues published between 1949 and 1967. But its influence stretched and stretches far beyond its modest distribution and print runs of the time. For many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs, and techniques not seen since.

Spencer never intended to turn a profit, so no expenses were spared in production (just like Alexey Brodovitch’s Portfolio). Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter faces, street lettering, matches, and avant-garde poetry all found their way into the magazine.

Urbane, prolific and unfailingly modest, Spencer was a reformer dedicated to improving standards of design in a field dominated by the printing industry’s outdated conventions. But he was also an aesthete with a connoisseur’s eye for the wild modernist innovations with letterforms and layout of the 1920s. Spencer launched the seminal publication, Typographica, in 1949, when he was 25, and edited, designed and sometimes wrote for it for 18 years. Equally at home publishing one of the first articles in Britain about concrete poetry (then an international phenomenon), or an illustrated study of the design challenges presented by Braille, he was a new kind of designer-editor, able to think both visually and verbally, and to fuse images and words in meaningful new relationships.

All texts by Modernism101

This copy is for sell. Your attention, 6 pages are missing, 4 pages on the first article and 2 on the last one. The price is 95€ without shipping. 3 others complete issues are for sell too. Shipping cost can be grouped (shipping from France all over the world) Thanks.

 

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