The ‘I wonder’ Issue
A totally Dutch issue created, written and designed by David Quay
with contributions from:
Jan Middendorp: Amsterdam bridge lettering
Ramiro Espinoza: Leo Beukeboom – Bars, beer and belettering
David Quay: Benno Wissing’s Ahoy alphabet
Chantel Hendriksen: The Hallen Gallery corporate identity
Arie Lenoir: Dutch printers and their position in the design industry
David Quay and Roel Stavorinus: A final word
TypoGraphic
The ISTD journal TypoGraphic provides a forum for constructive critical debate on typography and graphic communication; each issue includes themed discussions by leading designers and educators.
Published since 1971 under various editors, it has chronicled the most dynamic three decades of typographic development.
The ISTD journal TypoGraphic is mailed free to all ISTD members.
Published since 1971 under various editors, it has chronicled the most dynamic three decades of typographic development.
The ISTD journal TypoGraphic is mailed free to all ISTD members.
TypoGraphic 67
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TypoGraphic 66
The Contrast Issue. Designed by Peter Dawson and Tegan Danko, Grade Design
Contents included in this issue:
Michael Harvey: Meeting Jack Stauffacher. Two eminent typographers, 6000 miles apart.
Sebastian Carter: A personal reflection on the typographer Stanley Morison.
Mikhail Karasik: An ‘academic’ look at the Russian avant-garde book, considering Futurist, Constructivist and Supremisist principles of early twentieth century book design.
Frida Larios: New Life for Maya Hieroglyphs, the development of her New Maya Glyphs for modern day application.
Contents included in this issue:
Michael Harvey: Meeting Jack Stauffacher. Two eminent typographers, 6000 miles apart.
Sebastian Carter: A personal reflection on the typographer Stanley Morison.
Mikhail Karasik: An ‘academic’ look at the Russian avant-garde book, considering Futurist, Constructivist and Supremisist principles of early twentieth century book design.
Frida Larios: New Life for Maya Hieroglyphs, the development of her New Maya Glyphs for modern day application.
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TypoGraphic 65
The Advertising Issue. Designed by Paul Belford
Contents included in this issue:
John Ellis: The rise of the Victorian and Edwardian magazine and the small ads that helped pay for them.
Steven Heller: When art directors walked the earth: New York in the fifties
and sixties.
David Wakefield: Working with letterpress in advertising? Don't even
think of it.
Paul Belford: Ads that don't look like ads.
Joan Gibbons: Beyond banality.
Paul Cohen: The advertising issue.
Richard Carr: Meeting Abram Games.
Contents included in this issue:
John Ellis: The rise of the Victorian and Edwardian magazine and the small ads that helped pay for them.
Steven Heller: When art directors walked the earth: New York in the fifties
and sixties.
David Wakefield: Working with letterpress in advertising? Don't even
think of it.
Paul Belford: Ads that don't look like ads.
Joan Gibbons: Beyond banality.
Paul Cohen: The advertising issue.
Richard Carr: Meeting Abram Games.
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TypoGraphic 64
The National Issue. Designed by David Smith, Atelier Projects
Contents included in this issue:
Gilmar Wendt and Friedrich Forssman: A view from abroad.
Al Robertson: Kiwi Kaps and Dairy Default.
Steven Heller: American Icon: Or How Trade Characters Rule the World.
Jessica Antwi-Boasiako: Read the signs: What happens to Graphic Design when cultures mix?
Sebastian Guerrini: Banknotes and National Identity: how the nation is in
your pocket.
David Jury: National Icons: a European student design project.
Brian Webb: Meeting Edward Bawden.
Contents included in this issue:
Gilmar Wendt and Friedrich Forssman: A view from abroad.
Al Robertson: Kiwi Kaps and Dairy Default.
Steven Heller: American Icon: Or How Trade Characters Rule the World.
Jessica Antwi-Boasiako: Read the signs: What happens to Graphic Design when cultures mix?
Sebastian Guerrini: Banknotes and National Identity: how the nation is in
your pocket.
David Jury: National Icons: a European student design project.
Brian Webb: Meeting Edward Bawden.
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Stock: 423 available
TypoGraphic 63
Unfinished Issue. Designed by Kuba Sowinski and Jacek Mrowczyk
Contents included in this issue:
Marian Oslislo: Typography in the Polish Post-war Poster.
Mike Hudson and Jadwiga Jarvis: Monologue for Two Voices.
Jaroslav Andel: Czech Avant-garde.
Clive Chizlett: Gutenberg's Bible: Labour and Materials.
Maureen O'Neil: Type, Text and the Map.
John Ellis: Anthony Froshaug: Tutor to the 'Stars'.
Contents included in this issue:
Marian Oslislo: Typography in the Polish Post-war Poster.
Mike Hudson and Jadwiga Jarvis: Monologue for Two Voices.
Jaroslav Andel: Czech Avant-garde.
Clive Chizlett: Gutenberg's Bible: Labour and Materials.
Maureen O'Neil: Type, Text and the Map.
John Ellis: Anthony Froshaug: Tutor to the 'Stars'.
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TypoGraphic 62
Designed by HDR Visual Communication
Contents included in this issue:
Geoffrey Dowding: The Future for the Typographer.
Clive Chizlett: The Separation of Print and Typography Within
Design Education.
David Jury: The Status of Craft in Design and Print.
John McMillan: Striving for Common Values in Typographic Education.
Tim Lewis: Vernacular Posters in Kingston, Jamaica.
Contents included in this issue:
Geoffrey Dowding: The Future for the Typographer.
Clive Chizlett: The Separation of Print and Typography Within
Design Education.
David Jury: The Status of Craft in Design and Print.
John McMillan: Striving for Common Values in Typographic Education.
Tim Lewis: Vernacular Posters in Kingston, Jamaica.
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TypoGraphic 61
Designed by Ian Chilvers (Atelier Works)
Contents included in this issue:
Walter Tracy: Composing Room Days.
Jan Middendorp: A Dutch Controversy: Graphic Design v 'Reclame'.
Nick Shinn: Hand-drawn lettering in American advertising, 1900-1950s.
Anne Brooks: Exploring Typographic Conventions in Book Design.
David Jury: UK Publishing in the UK during the Second World War.
Philip Turner: Beatrice Warde.
Contents included in this issue:
Walter Tracy: Composing Room Days.
Jan Middendorp: A Dutch Controversy: Graphic Design v 'Reclame'.
Nick Shinn: Hand-drawn lettering in American advertising, 1900-1950s.
Anne Brooks: Exploring Typographic Conventions in Book Design.
David Jury: UK Publishing in the UK during the Second World War.
Philip Turner: Beatrice Warde.
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TypoGraphic 60
The conventions by which typographers are still bound were, to an enormous degree, formed by the primal technology of letterpress and it is inconceivable that typography will stray far from what letterpress has made it. This, and other primal printing developments provide the theme of this multi-award-winning issue of TypoGraphic.
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TypoGraphic 59
If the quality of normal, everyday living is considered important then typography must be as worthy of study as language itself. The visual grammar employed by the typographer to achieve this generally self-effacing, social function, is the theme of TypoGraphic 59.
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TypoGraphic 58
Designed by Designers Republic.
The necessity of formality (or rules) in relation to the use and arrangement of textual material has been the bedrock of typographic study. With information itself, the predictability of rules are essential for accurate decoding and provides a check enabling the identification of the unusual or unpredictable.
The conventional is predictable and therefore easy to decode. It follows, therefore, that a typographer who breaks from convention (breaks the rules) knows that, in so doing, the information will be made more difficult to understand and is, presumably therefore, happy with this consequence. Since such actions inevitably 'interfere' with the author's message this activity is often referred to as NOISE.
The necessity of formality (or rules) in relation to the use and arrangement of textual material has been the bedrock of typographic study. With information itself, the predictability of rules are essential for accurate decoding and provides a check enabling the identification of the unusual or unpredictable.
The conventional is predictable and therefore easy to decode. It follows, therefore, that a typographer who breaks from convention (breaks the rules) knows that, in so doing, the information will be made more difficult to understand and is, presumably therefore, happy with this consequence. Since such actions inevitably 'interfere' with the author's message this activity is often referred to as NOISE.
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TypoGraphic 57
Designed by North Design.
As well as the obvious practice of surveillance itself, the authorities (East Germany’s Secret Police) express themselves graphically in the make-up of their copious filing system. Stoically repeated phrases emphasize the power in every form; the (unintentionally) cruder the aesthetic formulation, the more efficient the subject’s impotence is translated.
Oliver Kimpel: Hidden recordings. The concept of the secret file.
As well as the obvious practice of surveillance itself, the authorities (East Germany’s Secret Police) express themselves graphically in the make-up of their copious filing system. Stoically repeated phrases emphasize the power in every form; the (unintentionally) cruder the aesthetic formulation, the more efficient the subject’s impotence is translated.
Oliver Kimpel: Hidden recordings. The concept of the secret file.
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TypoGraphic 56
Designed by Reinhard Gassner.
Signs, Signals and Directions – explorations into onscreen type.
Signs, Signals and Directions – explorations into onscreen type.
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TypoGraphic 55
Designed by The Attik.
In the real world your ideals will turn to custard before the might of money and even you, the precocious rebel, will be corrupted.
Alan Robertson: Designing the real world.
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In the real world your ideals will turn to custard before the might of money and even you, the precocious rebel, will be corrupted.
Alan Robertson: Designing the real world.
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TypoGraphic 54
Designed by Struktur.
One might ask: which come first, books or signs? The conservative world of serious typography tends to think that type started from the wish to make books (which is true) and consequently, all other developments in type are branches of this main trunk (which is not true). Signwriting, for example is certainly the fruit of a different tree.
Fred Smeijers: Typographic versus commercial lettering.
One might ask: which come first, books or signs? The conservative world of serious typography tends to think that type started from the wish to make books (which is true) and consequently, all other developments in type are branches of this main trunk (which is not true). Signwriting, for example is certainly the fruit of a different tree.
Fred Smeijers: Typographic versus commercial lettering.
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TypoGraphic 53
Designed by David Quay / Ting Lam Tang.
Edited by Freda Sack.
Features ISTD Awards 1998.
Edited by Freda Sack.
Features ISTD Awards 1998.
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TypoGraphic 52
Designed by Nick Bell.
Education need not be conceived as an introduction to the competitive scramble (of industry). WR Letherby, quoted by David Jury: JH Mason, Typography, and the art school ethos.
Education need not be conceived as an introduction to the competitive scramble (of industry). WR Letherby, quoted by David Jury: JH Mason, Typography, and the art school ethos.
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TypoGraphic 51
Designed by Cartlidge Levene.
A hot dog in Japan is pretty much the same thing in England: it looks the same, it tastes the same and it is just the same word – not quite. Actually it is hotto doggu. You are not sitting in a restaurant but a resutoran and the radio in the background plays the besuto ten toppu songu (non sutoppu).
Holger Jacobs: Language from the outside.
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A hot dog in Japan is pretty much the same thing in England: it looks the same, it tastes the same and it is just the same word – not quite. Actually it is hotto doggu. You are not sitting in a restaurant but a resutoran and the radio in the background plays the besuto ten toppu songu (non sutoppu).
Holger Jacobs: Language from the outside.
Limited stocks
Price: £20.00