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Urban Design Manhattan: Regional Plan Association
 Urban Design Manhattan: Regional Plan Association
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Click Here to View other titles by  graphic design | typography graphic design | typography

Publications on the history of modern typography, trademarks & logotypes, packaging, posters, advertising, signage, commercial art, book design, letterheads, etc., including notable designers and their works in these fields.

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Haab, Armin & Walter Haettenschweiler, Lettera 3: A Standard Book Fine Lettering, Teufen, Switzerland, Arthurt Niggli Ltd., 1970, first edition, 8vo (9.5" x 8.5"), HB in dj, black cloth boards w/ white titles in green & white dj w/ b&w titles, VG+ / VG. Extremities bumped, especially at spine head & corresponding corner of text block. DJ yellowed, extremities chipped..

128 pp., with index. Third in a series of four volumes published between 1956-1971. Flap copy in English, German, French.

From the flap copy:
This time we turned our minds more particularly to 5 varieties of type face: ornamental letters of the 19th century, Egyptian and English-Italian, Art Nouveau faces, new sans-serif creations and finally the latest trends in type face design.
We made a very special effort to track down attractive Art Nouveau faces. Only recently divested of its more meretricious trappings, this art history phenomenon has been enjoying a real renaissance as an authentic artistic revelation and today its influence extends not only to lettering but to virtually every field of art and applied art. This trend goes all the way back to William Black (1757-1827). But it was not until 1896 that Otto Eckmann (1865-1902) was commissioned by Dr. Karl Klingspor to produce the first Art Nouveau alphabet for the Rudhard foundry....As early as 1900 Peter Behrens (1868-1940), the second artist to design an Art Nouveau alphabet for the same foundry, felt the pull of the 'new objectivity' and turned his mind to sans-serif. Thus it came about that this fae, which was created as long ago as 1816 by William Caslon IV in London, enjoyed its first renaissance and dug the grave of Art Nouveau after barely 10 years fo fame and glory. And the German Werkbund, founded in 1907, stepped over its grave and marched towards thenew functionalism with sans-serif on its banners.
It is not without irony that after a second revival of this type in the thirties, virtually every foundry and photocomposing outfit in the world has been striving during the past 10 years to create once more graphically perfect sans-serif faces. And this most recent renaissance of sans-serif--probably the most popular of all display faces--will certainly not be the last.
Our selection from a plethora of Art Nouveau faces shows the best types of every school that has designed an alphabet (English, French, German and Viennese in trend) and brings the total of alphabets up to 22.

    [Book ID # 2099]


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