Editor: David Jury
Publisher: International Society of Typographic Designers (ISTD)
Publication: 1996–2003, First Edition
Binding: Softcover, saddle-stitch
Pages: 40 (average)
Size: 210 x 297
Text: English
Typographic 49, 1996; I just love a blank screen. Typography is too important to be taught by designers. Is 50% creativity enough? Play it loud. So old it's new.
Typographic 50, 1997; Glasgow 1999 competition to design a corporate typeface. Understanding the undefinable hand-cutting letters. Craft and computer aided design levels of control. Letters of indulgence reinventing the woodblock. Wim Crouwel - the 1997 remix salvaging and rebuilding letterforms. Colophon.
Typographic 52, 1998; Graphic design and typography at the new Bauhaus. A time of change. The Working Party on Typographic Teaching, WPTT, interim report, Oct 1968. It simply will not do. No excuse. Squaring ideas between triangling and circularity. J H Mason, typography and the art school ethos (part two). Six honest serving-men.
Typographic 54, 1999; UNA: beyond wallpaper. The languages of design. My pink heaven. Typographic versus commercial lettering. The token woman. Words and pictures: synchronization of the senses.
Typographic 55, 2000; Designing the real world. Study and practice of applied design. To look good is not enough. Going straight. Real World. Lurking with electrons. Minimum requirements for typographic training. Starting from scratch.
Typographic 56, 2000; Stimulate and sell: titillate and tell. Signs of our times: type as a design chronometer. Completely new and very different. Wayfinding in complex environments. Visual signs – visual thinking. Typography: the signs of ideas. Standing stones.
Typographic 57, 2000; Art and type. When words are not enough. Hidden recordings: the concept of the (secret) file. Visual processing. The handwriting of John Cowper Powys. A designer, but not a type designer.
Typographic 59, 2002; Smith’s rules. L’Ambroise en détails. Make no mistake. Exploring context. Kerns and spaces. Stillness, balance and advancement. One way? Rules of composition.
Typographic 61, 2003; Composing room days (part two). A Dutch controversy: graphic design v ‘reclame’. T M Cleland: hand-drawn lettering in American advertising, 1900-1950s. Exploring typographic conventions in book design. Publishing in the UK during the Second World War. Meetings with remarkable people: Beatrice Warde.
Condition: Very Good. All titles are used and show shelf ware consistent with age. Light rubbing to covers.
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