calligrapher type designer typographer di zapf hermann (10 risultati)

Soft cover. Condizione: Fine. Stiff self-wrappers with paper spine label, 12mo, unpaginated. Printed in red and black at the Stempel Typefoundry. Folded card offering the book as courtesy of Amsterdam Continental Types. Fine copy in archival mylar.

Softcover, unpaginated, very good condition; except 2 tears to covers at top edge; no internal marks.

Paperback. Condizione: Near Fine condition. NOT a library discard (illustratore). First Edition. [Cincinnati, Ohio]: Cincinnati Art Museum, 1960. Near Fine condition. Just a hint of tanning to the spine. NO chips or tears. Corners are NOT bumped. NOT a library discard. NO owner's name or bookplate. Pages are clean and unmarked. 1960-61. First Edition. Frontispiece portrait of Hermann Zapf. An exhibition catalogue. Includes a tribute to Zapf, a brief chronology, and list of 59 type faces he designed. Describes 170 of Zapf's works, of which 17 are illustrated here. Laid-in is a presenation card from Amsterdam Continental Types. Printed in red, dark red, and black at the Stempel foundry, Frankfurt, Germany. Bound in the original green wraps over stiff white card covers. Printed paper spine label. . First Edition. Softcover. Near Fine condition. Illus. by NOT a library discard. 62pp. Great Packaging, Fast Shipping.

Paperback. Condizione: Orig. gray wrappers. Fine. First edition. Approx. 72 pages. 18 x 11 1/2 cm. Illustrated. Exhibition Catalog.

Zapf, Hermann (illustratore). 12mo. stiff paper wrappers, paper spine label. (62) pages. Lists 170 items and has many illustrations Also contains a list of type-faces designed by Zapf. A near fine copy. stiff paper wrappers, paper spine label.

Paperback. Condizione: Very Good. Blue wraps, paper spine label. Covers rubbed, a bit wrinkled along the edges. Internally clean.

Precioso librito, con páginas sin numerar, y reproducciones en negro y en color de tipografías y diseños de Zapf. 12vo., cartulina con sobrecubierta. Impecable.

Paperback. Condizione: Gut. unnumbered, numerous figures, Good condition. -- In the fields of printing and graphic design it is generally agreed that the poet in our midst is the type designer. The basis of his profession is a perfect blend of art and science. Moreover, it has been said that a study of the development of letter forms would touch upon the complete cultural activities of man. The great accomplishments of Claude Garamond, Anton Janson, John Baskerville and Giambattista Bodoni are imposing today. The letters invented by these men in previous centuries are still considered as patterns for the norms in printing types. However, these letter forms were conceived to meet a set of requirements which differ completely from those of the modern world. In their times, papers were hand-made and presses were hand-operated. The advent of offset and gravure printing, the advances in high-speed presses and the diversification of printing surfaces have presented restrictions on the use of type faces that were designed in the past. With these new factors, the modern type designer's function is clearly defined and his need is even greater. -- -- Of the many designers of printing types in this century, Hermann Zapf has emerged as one of the most original talents. Since 1939 he has produced over fifty type faces which cover a wide range of styles. He was born in Nurn-berg, Germany, in 1918. His early interest in drawing lead him to seek a position where his abilities might be used. His great desire to become an electrical engineer could not be realized in the Germany of1933. Having no formal art training, he developed by practice his early interest in drawing and thus qualified for employment in a printing firm as a photo retoucher. -- n 1935 he came across the text book, Das Schreiben als Kunstfertigkeit, written by the great German writing master, Rudolf Koch, and commenced his calligraphic exercises with the broad pen. Edward Johnston's excellent book, Writing and Illuminating and Lettering, later served as a guide and introduction to traditional letter forms. The great collection of famous writing-books at the Niirnberg city library presented actual examples of the letter from its earliest written forms. Thus in 1935, with the tremendous discipline so necessary in one who is self-taught, Zapf entered a field in which he is now an acknowledged master. In the spring of 1939 he moved to Frankfurt am Main, where he co-operated with " Haus zum Fursteneck", the printing firm of Paul Koch. Some months later he established himself as a freelance book designer and typographer. Through Gustav Mori, he was introduced to the Stempel type-foundry. In 1940, when he was twenty-two years old, his first type design was cut, the test size of Gilgengart, a German text letter. (Beginning of the introduction) Sprache: Englisch Gewicht in Gramm: 550.

Condizione: Sehr gut. 31 Bl. : Ill. und Frontispizseite,; 19 cm Buch in sehr guter Erhaltung, Einband sauber und unbestoßen, Seiten sauber, ohne Einträge, 0 Sprache: Englisch Gewicht in Gramm: 250 OKarton, mit montierten Rückentitel.

Soft cover. Condizione: Fine. 1st Edition. Text printed mostly in blue and black with many reproductions of typefaces (Optima, Melior, Palatino, etc) and other designs in black and white and colours. Blue card covers decorated with an alphabet in black and white. A very good to fine copy. Loosely inserted a quotation from T.J. Cobden-Sanderson reproducedfrom calligraphy by Hermann Zapf and signed by him in pencil. Signed by Author(s).