Alan Bartram

James Sutton

More than a hundred currently available filmset typefaces are presented here in large-format, double-page specimen settings, in various sizings and spacings.

Typefaces for Books

This study of five centuries of book designs looks at the successes and failures, and examines some classics of layout and production from Western Europe and America.

Five Hundred Years of Book Design

"The opportunities offered for graphic and type designers in the digital age are greater than ever before. But without an understanding of the visual structure of letterforms and some knowledge of their fascinating history, designers cannot fully exploit the potential of type. In this book, the author Bartram educates us in these critical areas."--BOOK JACKET.

A History

Typeforms

James SUTTON (and BARTRAM (Alan))

An Atlas of Typeforms. [With a Folding Plate.].

Design in British Publishing Since 1945

Making Books

British Library

An Atlas of Typeforms

"This book is the long-awaited successor to the classic An Atlas of Typeforms, the great visually-led history of type that Alan Bartram and James Sutton produced in 1968. Much has changed in the last 40 years, not least the teaching of typography and the means by which it is created. Because current design methods do not require the drawing and tracing of letterforms in order to produce layouts, we have lost our close connection with them. Few understand their history, their appearance, how and why they have developed as they have." "Nearly 75 different types are shown in their original metal forms, just as they were in the Atlas of Typeforms. But an entirely new feature is the author's attempt to place the types in their historical context. By including photographs of contemporary inscriptions on buildings and monuments, Alan Bartram explores the relationship between printed and architectural letterforms and their parallel course from the Renaissance until Victorian times." "The opportunities offered for graphic and type designers in the digital age are greater than ever before. But without an understanding of the visual structure of letterforms and some knowledge of their fascinating history, designers cannot fully exploit the potential of type. In this book, the author Bartram educates us in these critical areas."--BOOK JACKET.

Amy Ellis

Maureen Miesmer

A stimulating survey of how the Bauhaus and the modernist revolution have shaped graphic design. 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, Laszlo 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

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.

Alan Bartram

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