A unique look at how Futurism influenced and changed twentieth-century graphic design In the early decades of the twentieth century, European artists, poets, and designers called for the destruction of outdated assumptions about vision and language. Numerous manifestos resulted, demanding new artistic forms. None of these manifestos was more aggressive and poetic, or wider in scope than Filippo Tomasso Marinetti’s Futurist Manifesto of 1909. Painting, sculpture, literature, architecture, theatre, cinema, and music were all caught up in its net. Typography—until then a distant relative in the arts—also played a major role in Marinetti’s program. Written by leading design scholar Alan Bartram, this fascinating book examines the rise and evolution of the Futurists’ approach to typography and graphic design, placing it within the context of contemporary artistic and literary movements. The volume features examples of some eighty Futurist books or other designs for print, many of them relatively unknown or previously unpublished, accompanied by new translations of over twenty of the featured texts. Bartram illuminates the complicated meanings of the Futurist designers’ graphic works in order to provide a new understanding of their extraordinary and influential visual language.

Futurist Typography and the Liberated Text

Arts & Photography

Bartram, Alan

Graphic Design

Yale University Press

This book serves the practical requirements of all those who are involved in specifying type for books. More than 100 currently available filmset typefaces are displayed in large-format, double-page specimen settings, in several different sizes and spacings, showing also display sizes bold, roman, italic, small caps and figures. The authors also provide an introduction, including notes on the technical and visual development of typefaces, a comprehensive "family tree" of types related to their historical models, and a long illustrated essay in which many examples of widely various typographic problems and their solutions (all of relevance to today's book designers) are discussed. The book itself is set in a new Monotype face designed by Michael Harvey. Alan Bartram is a book designer and author of several books on lettering and type, the most recent being "The English Lettering Tradition". James Sutton is a graphic designer. They have previously collaborated on "An Atlas of Typeforms".

Typefaces for books

Computers & Technology

Sutton, James

Graphics & Design

British Library / Oak Knoll Press

Typeforms: A History

Reference

The British Library/Oak Knoll Press

In this stimulating book Alan Bartram sets the current publishing scene in the context of the best practice of the last fifty years. While emphasising that a satisfying book is the result of teamwork between author, editor, designer and printer, it is mainly concerned with their design. Tschichold, Schmoller and others, in the first twenty-five years of the period examined here, created books which were not only elegant, but had high standards of readability and straightforward communication. Much has changed, but such elementary requirements for good bookmaking are as relevant today as they ever were.

Making Books Design in British Publishing Since 1945: Design in British Publishing Since 1945

British Library Board

This lively and authoritative book explores the influence of the Bauhaus and modernism on typography and book design. Distinguished book designer and author Alan Bartram examines work by such key figures as Max Bill, F. T. Marinetti, El Lissitzky, László Moholy-Nagy, Jan Tschichold, and Paul Rand. All of the carefully chosen examples-some of which have not been previously reproduced-clearly demonstrate the modernist revolution that took place in graphic design. In an informative introductory essay, Bartram surveys the German art and design school known as the Bauhaus. Under Walter Gropius, the Bauhaus intended to create an academic, theoretical, and practical synthesis of all forms of visual expression-a marrying of art, architecture, industry, and design that had never been attempted before. Although the Bauhaus existed for only fourteen years, from 1920 to 1934, Bartram asserts that its philosophy influenced the appearance of almost every kind of modernist artifact throughout the twentieth century and continues to do so today. Engagingly written and handsomely illustrated, this volume is a valuable resource for designers and book lovers everywhere.

Bauhaus, Modernism and the Illustrated Book

Yale University Press, New Hav

First edition. Illustrated. Bookplate. 163+ 1 pages. stiff paper wrappers.. oblong 8vo..

Fascia lettering in the British Isles

Watson-Guptill Publications

First edition. Illustrated. iii , 107 pages. stiff paper wrappers.. oblong 8vo..

Street name lettering in the British Isles

A book illustrating, by means of tombstones, "the breadth and general sequence of the English lettering traditions." An interesting collection of almost four centuries of stonecutting. Unpaginated. stiff paper wrappers.. square 8vo..

Tombstone lettering in the British Isles

First American edition. The incorporation of lettering into the architectural pattern of a building is a practice with a long and honorable history. This book shows, with 300 illustrations drawn from Britain and Italy, how lettering has been traditionally used in architecture and indicates the range of letterforms available for use. 176 pages. paper-covered boards, dust jacket. large 8vo..

Lettering on Architecture

Architecture

Watson-Guptill Pubns

Foxes (Young naturalist books)

Priory Press

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