{"title":"Sold Out","description":null,"products":[{"product_id":"josef-muller-brockmann-posters-1948-1981","title":"Josef Müller-Brockmann: Posters 1948–1981","description":"\u003cp\u003eJosef Müller-Brockmann: Posters 1948–1981, 1988. Pro Helvetia — Arts Council, Zurich, Switzerland in collaboration with the Embassy of Switzerland in Washington. 8.25 x 8.25, pp. 36 with English text. Photograph of Müller-Brockmann and his wife Shizuko Yoshikawa in Aspen, Colorado 1979 by Pieter Brattinga. Designed by Josef Müller-Brockmann.\u003c\/p\u003e\n\u003cp\u003eThis thoughtfully illustrated exhibition catalog features (24) of Müller-Brockmann’s iconic posters; black and white and color and one per page. Each poster illustrated includes an adjacent black and white line drawing revealing the composition; excellent insight into Müller-Brockmann’s assiduous planning — this alone makes this catalog worthwhile.\u003c\/p\u003e\n\u003cp\u003eExcellent reprinted text contributions by Willy Rotzler (Zurich, 1982), Ashley Havinden (Journal of the Royal Society of Arts, London 1962), Klaus F. Schmidt (Print America’s Graphic Design Magazine, New York 1969) and Paul Rand (History of Graphic Design by Meggs, New York 1983) which sums up Brockmann best with his geometric analogy: “As the circle is perfect, so is his integrity. As the square is simple, so is his work. As the triangle is strong, so are his beliefs.”\u003c\/p\u003e\n\u003cp\u003eA nearly fine illustrated softcover catalog with only light wear to the front cover. An increasingly hard to find catalog.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34931320750241,"sku":"","price":135.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Posters-Muller-Brockmann5.jpg?v=1606598311"},{"product_id":"geigy-heute-geigy-today-karl-gerstner","title":"Geigy heute \/ Geigy today [Karl Gerstner]","description":"\u003cp\u003eGeigy heute \/ Geigy today edited by Dr. Markus Kutter, 1958. J.R. Geigy A.G., Basel Switzerland. 9 x 10, pp. 324 with German text. Printed in Switzerland.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis beautiful and functional landmark book was edited by Geigy's advertising director Markus Kutter and designed by Karl Gerstner for Geigy's 200th anniversary in 1958. \u003cem\u003eGeigy heute\u003c\/em\u003e “not only exemplified the new Swiss book design — square format, square-backed, headings and text typeset in unjustified grotesque — it also set new standards for information design in its statistical charts, ingenious diagrams of management structures and departmental organization.” (Richard Hollis, Swiss Graphic Design, 2006). \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eHeavily illustrated with color photographs by noted photographer René Groebli and others by Gerstner, Hofmann, Eidenbenz, Ifert, Tuggener, etc. Rare.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eA very good book with a few bumped edges, mild soiling to the white spine and handling to the covers. Slightly cocked with the earliest pages bound tightly. Bumped pages near the bottom of the gutter throughout; otherwise all bright and clean.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34931350732961,"sku":"","price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Geigy-Heute.jpg?v=1595178763"},{"product_id":"jean-widmer-a-devotion-to-modernism-signed-by-widmer","title":"Jean Widmer, a devotion to modernism [Signed by Widmer]","description":"\u003cp\u003eJean Widmer, a devotion to modernism: itinerary of a designer from Zurich to Paris, 2003. The Herb Lubalin Study Center of Design and Typography, The Cooper Union School of Art, New York, USA. 6.5 x 9.5, pp. 96. Designed by Philippe Apeloig.\u003c\/p\u003e\n\u003cp\u003eBoldly signed by Widmer “J. WIDMER” on the front free endpaper. Published in conjunction with the exhibition of the same name held at the Herb Lubalin Study Center from 2.24 to 4.5.2003. Includes: Foreword by Robert Rindler, Introduction by the Curator, Philippe Apeloig, \u003cem\u003eA bird's-eye view of French graphic design since 1945\u003c\/em\u003e by Margo Rouard-Snowman and a detailed discussion between Widmer and Apeloig. Catalog concludes with a Widmer's biography, notes on his design contemporaries and acknowledgments.\u003c\/p\u003e\n\u003cp\u003eNot nearly as well known in the United States as other modernist designers, Swiss designer, Jean Widmer is “of similar significance to Paul Rand in terms of his integration of modernist concepts into graphic design.” Apeloig eloquently states: “Jean Widmer's style, or better yet, spirit, is singular: conceptual, spare, elegant, serious, utilitarian and, though rooted in an innate devotion to modernism, endlessly responsive to change.”\u003c\/p\u003e\n\u003cp\u003eA near fine softcover with light soiling and and wear mostly to the white front cover edges. Signed by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJean \u003c\/span\u003eWidmer.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34931396706465,"sku":"","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Jean-Widmer1copy.jpg?v=1600630339"},{"product_id":"die-neue-graphik-the-new-graphic-art-le-nouvel-art-graphique","title":"Die neue Graphik \/ The New Graphic Art \/ Le Nouvel Art Graphique [Karl Gerstner and Markus Kutter]","description":"\u003cp\u003eDie neue Graphik, The New Graphic Art, Le Nouvel Art Graphique by Karl Gerstner and Markus Kutter, 1959. Arthur Niggli, Teufen, Switzerland and Alec Tiranti, London, UK. 9.25 x 9.5, pp. 248 with German, English and French text. Printed in Switzerland. Designed by Karl Gerstner.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eAn extensive pictorial survey of international, modern graphic design from its' 19th century origins until the late 1950's; with extensive commentary by the authors. One of the first books of its kind published for international audiences (3 languages) to help shed light on “Constructive” graphics and the emerging “Swiss Style”. A personal point of view by the authors, published shortly after the founding of the Gerstner + Kutter agency. \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eMeticulously designed by Gerstner using a square format, three-column grid and objective typography. Heavily illustrated with 432 examples including 12 in full color featuring sections on: trademarks, advertising, packaging, book jackets, posters and more. Highly recommended.\u003c\/p\u003e\n\u003cp\u003eA fine hardcover book in a very good original, publisher's slipcase with mild soiling, a few dings and small splits to the seams. \u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34938990919841,"sku":"","price":275.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Die-Neue-Graphik.jpg?v=1595176876"},{"product_id":"max-huber-progetti-grafici-1936-1981","title":"Max Huber: Progetti Grafici 1936–1981","description":"\u003cp\u003eMax Huber: Progetti Grafici 1936–1981 edited by Carlo Pirovano and curated by Max Huber, 1982. Gruppo Editoriale Electa, Milano, Italy. 8.75 x 9.5, pp. 120 with Italian text. Designed by Max Huber.\u003c\/p\u003e\n\u003cp\u003ePart of the excellent Pagina series directed by Pierluigi Cerri, this was the first monograph to document the 45-year career of Swiss born and educated, Max Huber who helped pioneer the new visual vocabulary emerging in post-war Italy; less to do with Swiss precision and grids and more to do with vitality and complexity.\u003c\/p\u003e\n\u003cp\u003eHeavily illustrated with more than 300 innovative works in black and white and some color including: logos, books, posters, advertisements, catalogs, packaging and more. With texts by Max Huber and Giovanni Anceschi and bibliographic captions for all images.\u003c\/p\u003e\n\u003cp\u003eA fine softcover in a very good publisher's slipcase with a some scratches and a few small splits and edge-worn corners. \u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939084505249,"sku":"","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Max-Huber.jpg?v=1595181239"},{"product_id":"the-aspen-papers-twenty-years-of-design-theory-from-the-international-design-conference-in-aspen","title":"The Aspen Papers: Twenty Years of Design Theory from the International Design Conference in Aspen","description":"\u003cp\u003eThe Aspen Papers: Twenty Years of Design Theory from the International Design Conference in Aspen edited with commentary by Reyner Banham, 1974. Praeger Publishers, New York\/Washington, USA. 7.25 x 9.5, pp. 224. Design by Chermayeff \u0026amp; Geismar Associates. Dust jacket by Ivan Chermayeff. Photography by Ferenc Berko.\u003c\/p\u003e\n\u003cp\u003eThe International Design Conference in Aspen, Colorado was the epicenter for the exchange of seminal and often controversial ideas about architecture, graphics, industrial design, interior design and environmental planning. \u003cem\u003eThe Aspen Papers\u003c\/em\u003e includes a generous sampling of more than 30 of those ideas from 1951–1973, with contributions from a diverse group of international luminaries; from designers to film-makers, psychologists and scientists including: Nikolaus Pevsner, Will Burtin, Henry-Russell Hitchcock, Paul Rudolph, Misha Black, Hin Bredendieck, Tomás Maldonado, Arthur Drexler, Bill Bernbach, John Cage, Ben Shahn, Len Lye, Ernesto Rogers, Moshe Safdie, Jacob Bronowski and many others.\u003c\/p\u003e\n\u003cp\u003eA fine hardcover and jacket.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939096236193,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/aspen-papers1copy.jpg?v=1600441066"},{"product_id":"letterheads-a-selection-of-letterheads-designed-by-pentagram","title":"Letterheads: A Selection by Pentagram","description":"\u003cp\u003eLetterheads: A selection of letterheads designed by Pentagram by Pentagram Design (London: Crosby, Fletcher, Grange, Hillman, Kurlansky, McConnell and New York: Forbes, Harrison), c. 1970s. Pentagram Designs Limited, London, UK. 8.25 x 11.75, n.p.\u003c\/p\u003e\n\u003cp\u003eThis promotional book given to the trade and\/or prospective clients includes (36) individual, full-page, mostly color letterheads designed by Pentagram. Printed on a variety of papers for both well-known and uncommon clients mostly from the United Kingdom with only a few from Switzerland and U.S.A. These include but not limited to: Reuters, Watneys London, Theo Crosby, The Design Council, Goods \u0026amp; Chattels Limited, Buro Happold, Prestel, Society of Industrial Artists and Designers, The Stravinsky Festival, Faber and Faber Publishers and much more.\u003c\/p\u003e\n\u003cp\u003eA fine softcover book with only a slight hint of wear to the edges of the bright orange printed wrappers. Increasingly uncommon.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939105050785,"sku":"","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Letterheads.jpg?v=1595181253"},{"product_id":"think-program-synopsis-of-the-exhibition-designing-programs-programming-designs","title":"Think Program. Synopsis of the Exhibition “Designing Programs \/ Programming Designs”","description":"\u003cp\u003eThink Program. Synopsis of the Exhibition “Designing Programs \/ Programming Designs” by Karl Gerstner, 1973. Museum of Modern Art, New York, USA. 4.25 x 8.25, pp. 73, printed single-sided, recto only. Printed in Switzerland.\u003c\/p\u003e\n\u003cp\u003ePublished in conjunction with the \u003cspan\u003eexhibition\u003c\/span\u003e at the Museum of Modern Art, New York, February 5 to March 30, 1973. With a preface and acknowledgement by Emilio Ambasz, Curator of Design.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eB\u003c\/span\u003eased on Gerstner's most important work “Designing Programmes”, this instructional presentation uses his reproduced prints of the original slide show to methodically explain his principles for “inventing rules for arrangement” where he argues for a general method or program (valid for many solutions) of questioning and structuring ... “a systematic approach for analyzing in design terms the conceptual and emotional aspects of form and color”. A very useful book!\u003c\/p\u003e\n\u003cp\u003eA very good+ softcover with mild wear and stress marks to the front and back bright orange covers. The binding is a bit fragile. An uncommon publication.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939110162593,"sku":"","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Think-Program.jpg?v=1595187501"},{"product_id":"official-graphic-art-in-switzerland","title":"Official Graphic Art in Switzerland, 1964 [Walter Bangerter and Armin Tschanen]","description":"\u003cp\u003eOfficial Graphic Art in Switzerland [Offizielle Schweizer Grafik, Arts Graphiques Officiels en Suisse] by Walter Bangerter and Armin Tschanen, 1964. ABC Verlag, Zurich, Switzerland. 10.125 x 10, pp. 184 with German, French and English text. Designed by Walter Bangerter.\u003c\/p\u003e\n\u003cp\u003eThe first, comprehensive look at contemporary (1964) publicity in Switzerland as it relates to the Federal Government (i.e. Railways, Post, Telephone, National Exhibition, Industrial Fair, Transport Museum, Tourist Office, Red Cross, Lottery, International Motor Show, Swissair, etc.).\u003c\/p\u003e\n\u003cp\u003eHeavily illustrated with more than 375 black and white (and some color) examples of Swiss modern typography including: stationary, posters, booklets, brochures and more. With a Preface by the Head of the Swiss Department for Home and Cultural Affairs; an Introduction by General Manager of the Swiss National Tourist Office, along with section contributions and captions by the author. An excellent representation of the distinctive Swiss style.\u003c\/p\u003e\n\u003cp\u003eA fine glazed red hardcover with bright, tight and clean interior pages.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939117502625,"sku":"","price":200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Offizielle-Schweizer-Grafik.jpg?v=1595183794"},{"product_id":"knoll-55-knoll-associates-and-its-overseas-branches-extend-their-greetings-at-the-new-year","title":"Knoll 55: Knoll Associates ... Extend their Greetings at the New Year [Original Proof, Herbert Matter]","description":"\u003cp\u003eKnoll 55: Knoll Associates and its Overseas Branches Extend their Greetings at the New Year, 1955. Knoll Associates, Inc., New York, USA. 9 x 12, original advertising proof, single-sided and signed in plate ”matter” in the top-right corner.\u003c\/p\u003e\n\u003cp\u003eRare. A striking, original design from Swiss émigré and modernist graphic designer and photographer, Herbert Matter. For over 20 years, Matter worked with Knoll designing everything from logos to catalogs, posters to exhibitions and more.\u003c\/p\u003e\n\u003cp\u003eThe highly stylized, bold “55”, perhaps hand-lettered is reminiscent of his iconic Knoll trademark as well as the numerals he used on his\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eArts \u0026amp; Architecture\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecovers from January 1945 and January 1946.\u003c\/p\u003e\n\u003cp\u003eThe original, oversized advertising proof is printed recto only and has NOT been removed from a magazine — would look lovely framed. A rare, nearly fine example with only a hint of wear.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939126349985,"sku":"","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Knoll55.jpg?v=1595181326"},{"product_id":"top-symbols-trademarks-of-the-world-7-volumes","title":"Top symbols \u0026 trademarks of the world [7 Volumes]","description":"\u003cp\u003eTop symbols \u0026amp; trademarks of the world edited by Franco Maria Ricci and Corinna Ferrari. 1973, Deco Press, Milan, Italy. 4.25 x 8.25, n.p. with English text. Printed in Italy. Designed by Franco Maria Ricci. \u003c\/p\u003e\n\u003cp\u003eAn authoritative and comprehensive (7) volume set with over 5,500 black and white commercial trademarks and symbols all created after 1945. Each volume is categorized by country with trademarks arranged alphabetically by client name (including city, activity, designer name and year). Detailed indexes by designer, studio and industry sector. Remarkable and extensive reference material and inspiration.\u003c\/p\u003e\n\u003cp\u003eForeword by Franco Maria Ricci and Preface by \u003cspan\u003eCorinna Ferrari. Including \u003c\/span\u003ean impressive selection of Introductions from: George Nelson (United States), Burton Kramer (Canada), Juan Perucho (Spain), D\u003cem\u003eé\u003c\/em\u003ecio Pignatari (Latin America), Colin Forbes (Great Britain and Ireland), Pieter Brattinga (Benelux), François Barré (France), Vittorio Gregotti (Italy), Hans Neuburg (Switzerland), Jupp Ernst (West Germany and Austria), Martin Gavler (Scandinavia), Stane Bernik (Yugoslavia) and Grega Kosak (Socialist Countries).\u003c\/p\u003e\n\u003cp\u003eA very good+ set with light handling from a designer's library with copious dog-eared pages in each volume. Interior pages are clean and complete. Hard to find many volumes together.\u003cbr\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939133493409,"sku":"","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Top-Symbols1.jpg?v=1595274039"},{"product_id":"pioneers-of-modern-typography-by-herbert-spencer-1st-edition","title":"Pioneers of Modern Typography by Herbert Spencer [1st Edition]","description":"\u003cp\u003ePioneers of Modern Typography by Herbert Spencer, 1st ed., 1969. Lund Humphries, London, Great Britain. 8.5 x 12, pp. 160. Made and printed in Great Britain. Designed by Herbert Spencer.\u003c\/p\u003e\n\u003cp\u003eAn early, essential reference to the avant-garde origins of modern graphic design and typography. Spencer’s extensive introduction discusses graphic design’s roots in the early decades of the twentieth century. He carefully traces the influences and figures associated with modern movements including: Suprematism, Futurism, Dada, De Stijl, Constructivism, Bauhaus and others. With designers’ quotes, key figure biographical information, captions throughout and a short bibliography.\u003c\/p\u003e\n\u003cp\u003eBeautifully printed in color using different stocks. Heavily illustrated with over 160 modern design and typography examples (many large and full page) examining the “heroic” period including: Guillaume Apollinaire, Herbert Bayer, Henryk Berlewi, Max Bill, Walter Dexel, Theo van Doesburg, Raoul Hausmann, Hannah Höch, Ilya Zdanevitch, El Lissitzky, F.T. Marinetti, Laszlo Moholy-Nagy, Alexander Rodchenko, Paul Schuitema, Kurt Schwitters, Ardengo Soffici, Kate Steinitz, Wladyslaw Strzeminski, Ladislav Sutnar, Jan Tschichold, H.N. Werkman, Piet Zwart and others.\u003c\/p\u003e\n\u003cp\u003eA nearly fine yellow hardcover with a hint of wear and a very minor cocked spine. In its’ original near fine, still bright and complete dust jacket with light wear along the edges. Interior pages are clean and bright with a sturdy binding.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939149779105,"sku":"","price":200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Pioneers-Modern-Typography-Spencer.jpg?v=1606605910"},{"product_id":"graphis-diagrams-the-graphic-visualization-of-abstract-data","title":"Graphis Diagrams: The Graphic Visualization of Abstract Data","description":"\u003cp\u003eGraphis Diagrams: The Graphic Visualization of Abstract Data edited by Walter Herdeg, 1\u003csup\u003est\u003c\/sup\u003e ed., 1974. The Graphis Press, Zurich, Switzerland. 9.5 x 9.625, pp. 184 with English, German and French text. Cover designed by Dietmar R. Winkler.\u003c\/p\u003e\n\u003cp\u003eAn expansive, international reference on statistical and diagrammatic graphics with six chapters: Comparative Statistical Diagrams, Flow Diagrams and Organizational Charts, Diagrams Visualizing Functions, Tabulations and Timetables, Cartographic Diagrams and Decorative Maps, and Diagrams Used as Design Elements.\u003c\/p\u003e\n\u003cp\u003eForeword by Herdeg and Introduction by Leslie A. Segal with project summaries and a comprehensive Subject, Designer and Client index. Heavily illustrated with 354 black and white and color examples.\u003c\/p\u003e\n\u003cp\u003eA nearly fine hardcover book with some toning to the laminated white boards and a small, vintage retail sticker on the back cover. Interior is bright, tight and clean.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939151909025,"sku":"","price":200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Graphis-Diagrams.jpg?v=1595179248"},{"product_id":"1972-new-york-subway-guide-massimo-vignelli","title":"1972 (2) New York Subway Guide, NYC Transit Authority [Design: Massimo Vignelli]","description":"\u003cp\u003eNew York Subway Guide, 1972 (2). New York City Transit Authority (Metropolitan Transportation Authority, MTA), 3.75 x 7 folded pocket map, 18 x 21 flat, printed double-sided. Design by \u003ca href=\"https:\/\/www.nytransitmuseum.org\/vignelli\/\" rel=\"noopener\" target=\"_blank\"\u003eMassimo Vignelli\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(Unimark International: Massimo Vignelli and Bob Noorda,\u003cspan\u003e \u003c\/span\u003edesigner Joan Charysyn and V\u003cspan\u003eignelli Associates\u003c\/span\u003e).\u003c\/p\u003e\n\u003cp\u003eBased on principles set forth by Henry Beck’s\u003cspan\u003e \u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.ltmuseum.co.uk\/collections\/stories\/design\/transforming-tube-map-harry-becks-iconic-design\" target=\"_blank\"\u003eLondon Underground\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003emap designed in 1933, this iconic diagrammatic map\u003cspan\u003e \u003c\/span\u003e— without NYC topography — is set on both forty-five and ninety-degree angles. Each line features a unique bright color and each stop is represented by a dot\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewith white and neutral colors in the background featuring bodies of water and parks. The map, seen as “controversial” by many New Yorkers when it was first released is greatly admired today!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe “pocket map” version, produced for customers to take with them was first printed in August, 1972. On one-side it features the system diagram, a “How To Use This Map” and a “Key”, with a simplified list of subway services (IRT, IND, BMT). The verso includes service details such as: stops, notes, and places to visit. This is the original second version “1972 (2)” printed in ten colors and set in Helvetica and Helvetica Medium; subsequent editions used Trade Gothic. ”\u003cspan\u003eThe first major revision of the map in 1974 entailed some service-related and geographical changes. The biggest change, however, was a subtle one: the switch from Helvetica Medium for station names to Trade Gothic.” — New York Transit Museum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA nearly fine, folded a bit unevenly, original subway map with only a hint of wear near the edges and to the folds when opened flat. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFor a seriously detailed account of the history and design of the New York City subway map(s) s\u003c\/span\u003e\u003cspan\u003eee Peter Lloyd’s \u003ca href=\"http:\/\/www.peterblloyd.com\/transit\/index.html\" rel=\"noopener\" target=\"_blank\"\u003ewebsite\u003c\/a\u003e and 2012 \u003c\/span\u003e\u003cem\u003eVignelli Transit Maps\u003c\/em\u003e\u003cspan\u003e book.\u003c\/span\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939156693153,"sku":"","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/NY-Subway2.jpg?v=1595181549"},{"product_id":"vision-in-motion","title":"Vision in Motion, Institute of Design, 1969 by Laszlo Moholy-Nagy","description":"\u003cp\u003eVision in Motion by Laszlo Moholy-Nagy, 1969.\u003cstrong\u003e \u003c\/strong\u003eID Book, Institute of Design, Paul Theobald and Company, Chicago. 8th large printing, 8.75 x 11.25, pp. 376 with English text. Typographic design by Moholy-Nagy.\u003c\/p\u003e\n\u003cp\u003eThis “blue-print of education through art” for the entire first half of the 20\u003csup\u003eth\u003c\/sup\u003e century was first published posthumously in 1947, one year after Moholy-Nagy’s death in Chicago. It's contemporary spirit continues to illuminate his modern approaches and methods towards interdisciplinary education: film, design, architecture, photography, painting, literature and the sciences; first set in motion at the Bauhaus, Dessau and continued at Chicago's Institute of Design. “... I think this will be the leading book in Art Education.” — Dr. Walter Gropius, Chairman Department of Architecture Harvard University. \u003c\/p\u003e\n\u003cp\u003eWith a Foreword, Table of Contents, Acknowledgment, and Introduction. Sections include: I. Analyzing the Situation: Vision in Motion; II. New Method of Approach–Design For Life; III. New Education–Organic Approach; and IV. A Proposal. Heavily illustrated with 440 examples of student and faculty work; some full-page and in color.\u003c\/p\u003e\n\u003cp\u003eA fine oatmeal cloth hardcover book in a still bright, nearly fine dust jacket with only a hint of wear.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939171274913,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Vision-In-Motion.jpg?v=1595187655"},{"product_id":"octavo-86-1-international-journal-of-typography","title":"Octavo 86.1, International Journal of Typography","description":"\u003cp\u003eOctavo 86.1, International Journal of Typography edited by Simon Johnston, Mark Holt, Michael Burke and Hamish Muir, 1986. Eight Five Zero Publishing (8vo), London, UK. 11.75 x 8.25, pp. 16 with English text.\u003c\/p\u003e\n\u003cp\u003eDesigned, published and self-financed in an edition of 3,000 copies as an eight issue series between 1986 and 1992. Distinct and influential, “Octavo arose from a genuine desire to develop a forum for matters related to typographic design, both historical and contemporary. And it was an opportunity to be openly critical of the complete absence of any European sensibility in British typography.” (8vo: On the Outside, Lars Müller, 2005).\u003c\/p\u003e\n\u003cp\u003eThis first issue features: \u003cem\u003eQuotations: Thoughts from ten practitioners\u003c\/em\u003e (Tschichold, Zwart, Weingart, Rand, Moholy-Nagy, Bill, Ruder, Lizzitzky, Bodoni, Dexel) \u003cem\u003eTechnics and ethics: the work of Anthony Froshaug\u003c\/em\u003e (Robin Kinross), \u003cem\u003eInformation Texture\u003c\/em\u003e (April Greiman), \u003cem\u003eRichard Long's Art of Words\u003c\/em\u003e (David Reason) and \u003cem\u003eTwentieth Century Monograms\u003c\/em\u003e (Burchartz, Tschichold, Weingart, Schmidt, Zwart, Kandinsky, Arndt, Boggeri, Behrens, Bayer, Rodchenko, Hoffmann).\u003c\/p\u003e\n\u003cp\u003eNear fine with a hint of wear — includes the original, vellum printed wrapper.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939186774177,"sku":"","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Octavo86.1.jpg?v=1595183006"},{"product_id":"octavo-86-2-international-journal-of-typography","title":"Octavo 86.2, International Journal of Typography","description":"\u003cp\u003eOctavo 86.2, International Journal of Typography edited by Simon Johnston, Mark Holt, Michael Burke and Hamish Muir, Winter Issue 1986\/1987, 1986. Eight Five Zero Publishing (8vo), London, UK. 11.75 x 8.25, pp. 16 with English text.\u003c\/p\u003e\n\u003cp\u003eDesigned, published and self-financed in an edition of 3,000 copies as an eight issue series between 1986 and 1992. Distinct and influential, “Octavo arose from a genuine desire to develop a forum for matters related to typographic design, both historical and contemporary. And it was an opportunity to be openly critical of the complete absence of any European sensibility in British typography.” (8vo: On the Outside, Lars Müller, 2005).\u003c\/p\u003e\n\u003cp\u003eThis second issue features: Semantic Composition; Peter Mayer examines the use of internal vertical justification, Fortunato Depero; Futurism and advertising, Theory in Practice; Colin Maughan discusses the work of Geoff White, Image as Typography; recent visual research from Hans-Rudolf Lutz, and Par Avion; an international design requirement.\u003c\/p\u003e\n\u003cp\u003eVery good with light wear to cover and interior — includes the original, vellum printed wrapper.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939188904097,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Octavo86.2.jpg?v=1595183022"},{"product_id":"octavo-87-4-international-journal-of-typography-wolfgang-weingart","title":"Octavo 87.4, International Journal of Typography [Wolfgang Weingart]","description":"\u003cp\u003eOctavo 87.4, International Journal of Typography edited by Simon Johnston, Mark Holt, Michael Burke and Hamish Muir, 1987. Eight Five Zero Publishing (8vo), London, UK. 11.75 x 8.25, pp. 16 with English text.\u003c\/p\u003e\n\u003cp\u003eDesigned, published and self-financed in an edition of 3,000 copies as an eight issue series between 1986 and 1992. Distinct and influential, “Octavo arose from a genuine desire to develop a forum for matters related to typographic design, both historical and contemporary. And it was an opportunity to be openly critical of the complete absence of any European sensibility in British typography.” (8vo: On the Outside, Lars Müller, 2005).\u003c\/p\u003e\n\u003cp\u003eFrom the cover: This fourth issue features Wolfgang Weingart’s historic 1972 illustrated lecture manuscript ‘How Can One Make Swiss Typography?’ Previously only available in a limited photocopied edition, this seminal work has been updated and its importance reassessed fifteen years on, in a new introduction written by the author.\u003c\/p\u003e\n\u003cp\u003eVery good with light wear to cover and interior — includes the original, vellum printed wrapper. Highly recommended.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939193032865,"sku":"","price":175.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Octavo87.4.jpg?v=1595183033"},{"product_id":"octavo-88-5-international-journal-of-typography","title":"Octavo 88.5, International Journal of Typography","description":"\u003cp\u003eOctavo 88.5, International Journal of Typography edited by Simon Johnston, Mark Holt, Michael Burke and Hamish Muir, 1988. Eight Five Zero Publishing (8vo), London, UK. 11.75 x 8.25, pp. 16 with English text.\u003c\/p\u003e\n\u003cp\u003eDesigned, published and self-financed in an edition of 3,000 copies as an eight issue series between 1986 and 1992. Distinct and influential, “Octavo arose from a genuine desire to develop a forum for matters related to typographic design, both historical and contemporary. And it was an opportunity to be openly critical of the complete absence of any European sensibility in British typography.” (8vo: On the Outside, Lars Müller, 2005).\u003c\/p\u003e\n\u003cp\u003eIssue 5, the “lower-case” issue features: Large and small letters: authority and democracy (Robin Kinross), Lower-case in the Dutch lowlands (Wim Crouwel) and Poetry in lower-case (Peter Mayer).\u003c\/p\u003e\n\u003cp\u003eVery good with light wear to cover and interior — includes the original, vellum printed wrapper.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939197259937,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Octavo88.5.jpg?v=1595183044"},{"product_id":"octavo-88-6-international-journal-of-typography","title":"Octavo 88.6, International Journal of Typography","description":"\u003cp\u003eOctavo 88.6, International Journal of Typography edited by Simon Johnston, Mark Holt, Michael Burke and Hamish Muir, 1989. Eight Five Zero Publishing (8vo), London, UK. 11.75 x 8.25, pp. 16 with English text.\u003c\/p\u003e\n\u003cp\u003eDesigned, published and self-financed in an edition of 3,000 copies as an eight issue series between 1986 and 1992. Distinct and influential, “Octavo arose from a genuine desire to develop a forum for matters related to typographic design, both historical and contemporary. And it was an opportunity to be openly critical of the complete absence of any European sensibility in British typography.” (8vo: On the Outside, Lars Müller, 2005).\u003c\/p\u003e\n\u003cp\u003eIssue 6 features: Signs of Revolution (Martin Pawley), Printed Time (Barry Kitts) and Highway Codes (Neil Parker). This issue was the first to be printed using a four-color process.\u003c\/p\u003e\n\u003cp\u003eVery good with light wear to cover and interior — includes the original, vellum printed wrapper.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939209777313,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Octavo88.6.jpg?v=1595183054"},{"product_id":"the-ibm-logo-its-use-in-contemporary-identification-paul-rand","title":"The IBM logo, Its Use in Contemporary Identification [Paul Rand]","description":"\u003cp\u003eThe IBM logo, Its Use in Contemporary Identification by Paul Rand, c. 1985. International Business Machines Corporation, Armonk, New York, USA. 8.75 x 11, pp. 32. Printed in USA.\u003c\/p\u003e\n\u003cp\u003eThoughtfully designed and authored by Rand with explanatory text and sections devoted to: The IBM look and the IBM logo, Logotypes\/Trademarks, 8 line versus 13 line logo, Excessive use of the logo, Mixing logo and typeset IBM, Typeset IBM instead of logo, No reference to IBM, Size of logo, Rearrangement of type elements, The animated logo and A word about Quality.\u003c\/p\u003e\n\u003cp\u003eIn a 1972 lecture, which became the basis of this book, Rand explained the idea of a coordinated design strategy. ”... there's more to the look of a company than meets the eye. Design (architectural, industrial or graphic) is but one of many components which contribute to that look. The look, in fact, is a synthesis of many responses—perceptual, emotional, and mental—difficult to describe. It is often the \u003cem\u003ehow\u003c\/em\u003e rather than the \u003cem\u003ewhat\u003c\/em\u003e; \u003cem\u003ehow\u003c\/em\u003e something is said, \u003cem\u003ehow\u003c\/em\u003e it is produced, \u003cem\u003ehow\u003c\/em\u003e it is presented.” (S. Heller, Graphis, 1986)\u003c\/p\u003e\n\u003cp\u003eHeavily illustrated, this practical identity booklet presents like a master class from one of America’s pre-eminent, modern graphic designers and a testament to Rand’s advocacy for a playful corporate identity. A fine, perfect-bound booklet with only a hint of wear.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34939220721825,"sku":"","price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/IBM-Rand.jpg?v=1595180153"},{"product_id":"basic-typography-handbook-of-technique-and-design","title":"Basic Typography: Handbook of technique and design [Ruedi Rüegg]","description":"\u003cp\u003eBasic Typography: Handbook of technique and design by Ruedi Rüegg and Godi Fröhlich, 1972. 1st ed., ABC Verlag Zurich, Switzerland. 10.15 x 10, pp.220 with German, French and English text. Printed in Switzerland. Designed by Ruedi Rüegg.\u003c\/p\u003e\n\u003cp\u003eThis comprehensive handbook deals with the technique and design elements of typographic production. With a short introduction Josef Müller-Brockmann and a text contribution titled “Craft and Art” by Paul Rand. Extensive chapters by the authors devoted to: planning of text, typesetting production, typographic elements, formal aspects (contrasts, proportions, rhythm, variations, etc.), working principles, and the development of type forms. The book culminates with applied typography examples; a \u003cspan\u003eheavily illustrated section with black and white and color Swiss, German and American works\u003c\/span\u003e. Part of the excellent ABC Verlag series.\u003c\/p\u003e\n\u003cp\u003eA nearly fine glazed hardcover with only a hint of wear. In the original, very good dust jacket with a few heavy tears and paper loss along the front and back edges and top of spine.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941371809953,"sku":"","price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/typografische-grundlagen.jpg?v=1600458946"},{"product_id":"graphicus-rivista-giambattista-bodoni-1935","title":"Graphicus Rivista: Giambattista Bodoni [1935]","description":"\u003cp\u003eGraphicus: Notiziario Grafico, \u003cspan\u003eRivista mensile delle arti della stampa, \u003c\/span\u003eNo. 8–9, August–September, 1935–XIII. R. Scuola per Le Arti Grafiche Vigliardi Paravia, Torino, Italy. 9.5 x 13, pp. 84 plus advertising with Italian text.\u003c\/p\u003e\n\u003cp\u003eThis issue devoted to Giambattista Bodoni “in occasione del Terzo Raduno-Concorso Poligrafici Fascisti” includes pp. 24 with text by Terenzio Grandi and is illustrated with a Bodoni woodcut portrait by Ercole Dogliani and twelve black and white facsimile examples.\u003c\/p\u003e\n\u003cp\u003eAlso includes “Primo Manifesto sull’Arte della Stampa” (First Manifesto on the Art of Printing) with seventeen declarations printed on pink paper and authored by Giulio da Milano, Ezio D'Errico and Edoardo Orecchia with a fine article “Il Razionalismo nelle Arti Grafiche” about his work. Heavily illustrated with trade advertising featuring studios, printing and typography. A few examples of specialty printing bound-in.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVery good with light handling to the cover corners and some wear to the early and late pages.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941372465313,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Bodoni.jpg?v=1595173703"},{"product_id":"born-modern-the-life-and-design-of-alvin-lustig","title":"Born Modern: The Life and Design of Alvin Lustig, 2010 [Steven Heller, Elaine Lustig Cohen]","description":"\u003cp\u003eBorn Modern: The Life and Design of Alvin Lustig by Steven Heller and Elaine Lustig Cohen, 2010. \u003cspan\u003eChronicle Books\u003c\/span\u003e\u003cspan\u003e, USA. \u003c\/span\u003e9.25 x 12.25, pp. 208. \u003cspan\u003eDesigned by \u003c\/span\u003eTamar Cohen.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eFrom the back cover: Despite Alvin Lustig's untimely death at the age of forty, Lustig had a significant influence on student and professional designers, particularly in graphic design, advertising, interior, and furniture design. In the early 1950s, at the peak of his career, he was at the forefront of the design revolution, participating both in the rise of California modernism and as a proponent of the ”good design is good business” motto radiating out of New York.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis first, in-depth monograph shares the totality of Alvin Lustig's vision and philosophies, from his groundbreaking book jacket design for New Directions Publishing to his forward-thinking approach to design education as explored at Black Mountain College and later at Yale University.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eA fine, brand new hardcover, still in the original publisher's shrink wrap\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941376135329,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Born-Modern.jpg?v=1595183869"},{"product_id":"designs-for-the-printed-page-fortune-magazine-leo-lionni","title":"Designs for the Printed Page, Fortune Magazine [Leo Lionni]","description":"\u003cp\u003eDesigns for the Printed Page by Leo Lionni, c. 1959. Fortune, New York. 10.25 x 13, pp. 47 with English text. Designed by Leo Lionni, Fortune’s Art Director.\u003c\/p\u003e\n\u003cp\u003eLionni’s promotional book on design and form in advertising features (47) individual designs (many color) as single and double-page spreads aimed at promoting Fortunes “high standards of graphic excellence”. Each example, which “can be applied to virtually any advertisement”, includes a brief interpretation of the designer’s intent such as — “Variations in size and color on a constant theme” and “Rhythmic repetition can make a relatively uninteresting form memorable”. An excellent book with thoughtful content designed using Century Schoolbook.\u003c\/p\u003e\n\u003cp\u003eLionni was an “adopted” Italian, born in the Netherlands but studied and worked in Italy before arriving in Philadelphia where he landed a job with Art Director, Charles Coiner at N.W. Ayer \u0026amp; Son, America’s oldest advertising agency. In 1948, he became Art Director of Fortune where he helped redesign the magazine in a more readable, softer style. Lionni’s distinctive design approach merged European imagination with an American professionalism, he said: “I felt 100% Italian and 100% America.”\u003c\/p\u003e\n\u003cp\u003eA very good plus softcover with lightly handled pages and some scratches to one spread. The stapled binding is detached from the center spread. In it’s original good decorated publishers yellow slipcase.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941380198561,"sku":"","price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Designs-Printed-Page-Lionni.jpg?v=1606597263"},{"product_id":"two-hermann-eidenbenz-typographic-prints","title":"(2) Hermann Eidenbenz Typographic Prints, c. 1945 [Graphique]","description":"\u003cp\u003e\u003cspan\u003e\u003c\/span\u003eHermann Eidenbenz (1902-1993) Typographic Prints, c. 1945. 23.5 x 19.25 flat, 9.5 x 11.75 folded, single-sided and signed in plate by \u003ca href=\"https:\/\/ecal.ch\/en\/feed\/projects\/5096\/hermann-eidenbenz-teaching-graphic-design\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan\u003eEidenbenz\u003c\/span\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eThe (2) large, typographic prints show a display face featuring an upper and lowercase alphabet in one weight with numerals and some punctuation; each with an excellent example of a letter construction. \u003cspan\u003ePrinting similar to a cyanotype blueprint.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe typeface is not identified by name, although the letters appear similar to Eidenbenz's \u003cem\u003eGraphique\u003c\/em\u003e (without the shadow) also set entirely in capitals and issued by Haas'sche Schriftgiesserei AG, Münchenstein, Switzerland in c. 1945. \"LA—SCHRIFT\" is written in red pencil on the back lower margin of the uppercase print and provides a possible clue to the origin of these artifacts.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good prints, folded a bit unevenly with light wear and toning near the edges and the folds when opened flat.\u003c\/span\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941382164641,"sku":"","price":85.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Eidenbenz-Type.jpg?v=1595177207"},{"product_id":"the-foundations-program-at-the-school-of-design-basel-switzerland","title":"Basic Principles of Design: The Foundation Program at the School of Design Basel, Switzerland","description":"\u003cp\u003eBasic Principles of Design: The Foundation Program at the School of Design Basel, Switzerland by Manfred Maier, 1st American ed., 1977. Van Nostrand Reinhold Company, New York, NY. 9 x 11.75, 4 individual volumes enclosed in a slipcase, each with pp. 104. Concept and Design by Manfred Maier. Cover designed by Wolfgang Weingart. Printed in Switzerland.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eFrom the general introduction by Kurt Hauert, Head of the Foundation Program (after Emil Ruder). \"The Foundation Program at the School of Design in Basel Switzerland is a fundamental education in art and design with courses in drawing, color, three-dimensional studies, materials and tools, and exercises in form, aesthetics, and concepts all of which are designed to promote optical and tactical sensitivity, formal perception, manual dexterity, and a clear understanding of creative processes ...\"\u003c\/p\u003e\n\u003cp\u003eEach volume includes an introduction, explanatory text and descriptive captions re: the exercises and outcomes. Volume 1: Object Drawing, Object and Museum Drawing, Nature Drawing. Volume 2: Memory Drawing, Technical Drawing and Perspective, Lettering. Volume 3: Material Studies, Textile Design, Color 2. Volume 4: Color 1, Graphic Exercises, Dimensional Design. Profusely illustrated with black and white and color examples. Contributions by faculty of the foundation program.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eFine individual volumes with a hint of toning in a fine original publishers sturdy slipcase. Important and highly recommended\u003c\/span\u003e\u003cspan\u003e!\u003c\/span\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941389209761,"sku":"","price":325.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Foundation-Program-Basel.jpg?v=1595177828"},{"product_id":"gebrauchsgraphik-ohw-hadank","title":"Gebrauchsgraphik: International Advertising Art [H.K. Frenzel; O.H.W. Hadank]","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGebrauchsgraphik: International Advertising Art (Monthly Magazine for Promoting Art in Advertising) edited by H.K. Frenzel \u0026amp; Engelbrecher, Sixteenth Volume, Number 7, 1939. Berlin, Germany. 9.25 x 12.25, pp. 50 plus trade advertising with German and English text.\u003c\/p\u003e\n\u003cp\u003eThis special issue was published in honor of Professor O.H.W. Hadank’s fiftieth birthday. It includes an editors introduction and multiple contributors. Profusely illustrated with black and white and color and specialty printed pages bound-in featuring: business cards, posters, trademarks, book covers, advertisements, extensive packaging and more. The most complete illustrated article on Hadank’s work that I’m aware of and the issue that introduced Paul \u003cspan\u003eRand to Hadank’s expertly crafted lettering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Although he worked in a classical manner, Hadank rejected both antiquated and kitsch tropes. \u003cspan\u003eHadank’s \u003c\/span\u003ework was not particularly “modern” looking; it was the essence of graphic elegance that the likes of Paul Rand believed influenced modern practice. He valued Hadank’s complex compositions because they exhibited a mastery of his craft and materials yet reserved special appreciation for Hadank’s purity as a typographer, letterer and illustrator.” — Steven Heller, 2015.\u003c\/p\u003e\n\u003cp\u003eVery good with only light handling and wear mostly to the spine tips and a few late advertising pages.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941390815393,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Gebrauchsgraphik-1939.jpg?v=1595178415"},{"product_id":"karl-gerstner-typographisches-memorandum-1973","title":"Karl Gerstner: Typographisches Memorandum \/ Typographical Memorandum \/ Memorandum Typographique by Karl Gerstner, February 1972","description":"\u003cp\u003eKarl Gerstner: Typographisches Memorandum \/ Typographical Memorandum \/ Memorandum Typographique by Karl Gerstner, Sondernummer February 1972. Zollikofer \u0026amp; Co. AG, Switzerland. 9 x 11.75, pp. 36 with German, English and French text. Designed by Karl Gerstner.\u003c\/p\u003e\n\u003cp\u003eThis is a special reprint of the same article that appeared in the seminal Swiss typography journal Typografische Monatsblätter, February 1972. Typographical Memorandum marks the end of Gerstner's typographical work; before he concentrated solely on art. Heavily illustrated with over (75) black and white works printed on grey stock and a German text introduction by Rudolf Hostettler; editor of the journal. Gerstner’s text and selected practical works are classified by four essentials: Typography and Language, Typography and Image, Typography and Surface, Typography and Sequence.\u003c\/p\u003e\n\u003cp\u003e“From the typographical work we have chosen only those specimens in which typography and content form a special unity — in memory of the integral typography.” A thoughtful supplement to Gerstner’s recently published book “Compendium for Literates” which focuses on his typographical views and theories.\u003c\/p\u003e\n\u003cp\u003eA very good or better journal with stiff, printed wrappers; slightly starting to pull (common with this volume). Light wear along the cover edge and a hint of soiling to the front cover — fresh and clean interior pages. Uncommon and highly recommended!\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941395992737,"sku":"","price":175.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/TM-Gerstner.jpg?v=1607547597"},{"product_id":"helvetica-handbucher-guter-druckschriften-1968","title":"Helvetica Handbücher guter Druckschriften, 1968","description":"\u003cp\u003eHelvetica Handbücher guter Druckschriften [Handbook of Good Typefaces] der Visualis AG, Zurich: Band E Helvetica, 1968. Haas'schen Schriftgiesserei, Münchenstein, Switzerland in collaboration with Schnittblatt-Service der Visualis AG, Zurich. Stamped Copy Nr. 1475, 11.25 x 11, 4-ring binder, loose-leaf system with German text. Printed in Switzerland.\u003c\/p\u003e\n\u003cp\u003eThe Helvetica loose-leaf system from the Haas Typefoundry features nine varieties: leicht (4-48 point), mager (4-60 point), Kursiv mager (5-24 point), halbfett (5-72 point), fett and Kursiv fett (6-72 point) including phototypesetting specifications for Helvetica Lino mager, Kursiv mager and halbfett (6-12 point). With an introduction from the Haas Type Foundry; perforated pre-addressed cards to purchase products by mail; typesetting specifications and an advertisement towards the back. Visualis AG also published similar style binder systems for Times New Roman and Univers c. 1967 (see images).\u003c\/p\u003e\n\u003cp\u003eA fine condition original binder and loose-leaf system with only a hint of wear.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941397336225,"sku":"","price":1000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Helvetica.jpg?v=1595179888"},{"product_id":"two-experimental-typographic-prints-unknown","title":"Two Experimental Typographic Prints [Unknown]","description":"\u003cp\u003eExperimental Typographic Prints, 1969. 8.25 x 11.75, single-sided and signed by an unknown artist.\u003c\/p\u003e\n\u003cp\u003eTwo individual, collage-like constructions made from a variety of uppercase letters (one may be from the same alphabet), punctuation and slugs composed in uniquely abstract compositions. Letters are rotated and flipped, overlap and connect to make ligatures and new forms; orderly or expressive depending on how you look at it.\u003c\/p\u003e\n\u003cp\u003eThe non-representational arrangements evoke works by H. N. Werkman, Wolfgang Weingart (and his students) and Jack Stauffacher’s work from 2003. Printed in black ink only on off-white stock, each print is signed distinctively and dated “69” with green ink in the lower-left margins by an unknown artist, typographer or printer (perhaps from Switzerland or Germany). If you can legitimately identify this artist, please do not hesitate to contact us.\u003c\/p\u003e\n\u003cp\u003eNear fine prints with a hint of wear to the corners and toning around the margins. Would look lovely framed. \u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941410508961,"sku":"","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/typeprints1.jpg?v=1595389829"},{"product_id":"paul-klee-drawings-signed-by-saul-bass-associates","title":"Paul Klee Drawings: Signed by Saul Bass \u0026 Associates","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003ePaul Klee Drawings by Will Grohmann, 1960. 1\u003c\/span\u003e\u003csup\u003est\u003c\/sup\u003e\u003cspan\u003e English ed. translated from the German by \u003c\/span\u003eNorbert Guterman, Harry N. Abrams Inc., New York. 10.5 x 11.25, pp. 176. Printed and bound in West Germany. An inscription signed\u003cspan\u003e in ink by Saul Bass \u0026amp; Associates on the front free endpaper. \"March 15, 1965 \/ Best Wishes from Saul Bass \u0026amp; Associates\" with (12) employee signatures underneath. \u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eWith a Preface, several texts on Klee including: Paul Klee, the Draftsman; Music and the Nature of Form; The Role of Titles: Klee as Poet; The Drawings; Technique, and Conclusion. Heavily illustrated with \u003c\/span\u003ea tipped-in frontispiece, (18) black and white reproductions in the text followed by (117) individual plates.\u003c\/p\u003e\n\u003cp\u003e\"The possibilities are rich in terms of comparing the works of many Bauhaus artists [including Paul Klee] with Bass’s work.\" — See Saul Bass: Anatomy of Film Design by Jan–Christopher Horak, 2004 for insight into comparisons between the work of Saul Bass and others.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA near fine copy with light edge wear and soiling to the top edge and spine head. A few small tears and loss to the back of the original, red printed acetate dust jacket. Illustrated boards and interior pages are clean and complete.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941413261473,"sku":"","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Paul-Klee-Drawings.jpg?v=1595187310"},{"product_id":"a-primer-of-visual-literacy-1st-edition-muriel-cooper","title":"A Primer of Visual Literacy [1st Edition, Muriel Cooper]","description":"\u003cp\u003eA Primer of Visual Literacy by Donis A. Dondis, 1973. 1\u003csup\u003est\u003c\/sup\u003e ed., The MIT Press, Cambridge, Massachusetts. 6 x 9, pp. 248. Designed by Muriel Cooper.\u003c\/p\u003e\n\u003cp\u003eThe celebrated, elementary design textbook presents a system “for teaching and learning how to express and interpret ideas visually.” Its thoughtful subject matter is a convergence of three equal parts; explanation, method and exercise — a functional toolkit to help establish and assign meaning to design (visual communication).\u003c\/p\u003e\n\u003cp\u003eThis book awards readers with new perspectives and guidance on what it means to be visually literate. We’ve always been impressed by the book’s accessibility and constraints — heavily illustrated with simple and practical black and white (the book has no color) examples with an unfussy cover and interior design by pioneer designer, educator, and researcher, Muriel Cooper; Dondis and the MIT Press Design Department. The book was set in IBM Composer Univers.\u003c\/p\u003e\n\u003cp\u003eA nearly fine hardcover book with light soiling to the white cloth covers. In its' original dust jacket with slight toning around the edges, creases to the top rear edge and a few chips with paper loss near the edges and corners, most noticeable to the rear bottom edge. An important book — hard to find book in its original dust jacket.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941426204833,"sku":"","price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Primer-Visual-Literacy3.jpg?v=1600629606"},{"product_id":"typographische-mitteilungen-17-issues","title":"Typographische Mitteilungen: Zeitschrift des Bildungsverbandes der Deutschen Buchdrucker [17 Issues]","description":"\u003cp\u003e\u003cspan\u003eTypographische Mitteilungen: Zeitschrift des Bildungsverbandes der Deutschen Buchdrucker, 1927–1929. \u003c\/span\u003eBildungsverband der Deutschen Buchdrucker, Leipzig, Germany. approx. 9 x 12, pp. 40-50 with German text.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA collection of (17) individual issues of one of Germany's most important design trade journal\u003cspan\u003e devoted to\u003c\/span\u003e printers and typographers. \u003cspan\u003eLot includes: 1927: #1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12; \u003c\/span\u003e\u003cspan\u003e1928: #2, 3, 6, 12; and 1929: #11. Issues cover traditional and modern \u003c\/span\u003etypography, the printing trade, illustration and printmaking, graphic design and more. Heavily illustrated with black and white and color work samples throughout — would make most typographers happy. Featuring numerous trade advertisements for typefaces: Kabel, Beton, Lux, Futura, Die schöne Grotesk, Garamond, Erbar, Fanfare, Metropolis, Venus, Bernhard Schriften and others.\u003c\/p\u003e\n\u003cp\u003eA very good collection of original brittle journals with detached front and back covers from four issues. Some brittle paper edges and toning to extremities but overall complete and clean interior pages. \u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941432889505,"sku":"","price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Typographische-Mitteilunen1.jpg?v=1595261748"},{"product_id":"typomundus-20-a-project-of-the-international-center-for-typographic-arts-icta","title":"Typomundus 20: A project of The International Center for Typographic Arts (ICTA)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eTypomundus 20: A project of The International Center for Typographic Arts (ICTA), 1966. \u003c\/span\u003eReinhold Publishing Corporation, New York, USA. 8.75 x 11.75, n.p. with English, French and German text.\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003ePublished in conjunction with \u003c\/span\u003ethe first internationally judged exhibition of world typography, Typomundus 20 illustrates in black and white over 500 entries (of 10,000 received) representing a significant selection of advertising, packaging, posters, books, trade marks and more since 1900. Text by 12 jury members: Horst Erich Wolter, Olle Eksell, Hans Neuburg, Anton Stankowski, Lou Dorfsman, Carl Dair, Piet Zwart, Roger Excoffon, Hiromu Hara, Max Caflisch, Oldrich Hlavsa and Hermann Zapf. \u003c\/p\u003e\n\u003cp\u003eWith a short note by Paul Rand (Honorary Chairman) and Aaron Burns (Director of ICTA) and Marilyn Hoffner (Publicity ICTA). Despite it's omission of many countries, there are many designer's i was unaware of and \u003cspan\u003eTypomundus 20 \u003c\/span\u003estill stands as a valuable record of sixty-five years of international typography.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA fine book and nearly fine dust jacket with only a hint of wear and a few small nicks and tears. \u003c\/span\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941437739169,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Typomundus.jpg?v=1595187624"},{"product_id":"typographie-walter-marti","title":"Typographie by Walter Marti, 1957 [Post WWII Swiss Typography and Graphic Design]","description":"\u003cp\u003e\u003cem\u003eTypographie\u003c\/em\u003e by Walter Marti (Lucerne), 1957. Druck: Schill \u0026amp; Cie. Luzern, Switzerland. 8.5 x 11.75, pp. 134 with German text. Designed by \u003cmeta charset=\"utf-8\"\u003eWalter Marti.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTypographie\u003c\/em\u003e is the follow-up book of the same title authored by Walter Bangerter and Walter Marti in 1948. Beautifully printed and designed, this lavishly illustrated (every page) volume explores contemporary (post WWII) Swiss typography and graphic design with examples printed on a variety of paper stocks, using refreshing color combinations and experimental printing techniques.\u003c\/p\u003e\n\u003cp\u003eIntroduction by Marti with short commentary throughout including sections featuring: logotype, letterhead, business card, labels, wine lists, advertisements, folders and bookplates. An important and valuable contribution to the subject.\u003c\/p\u003e\n\u003cp\u003eA near fine wire, spiral-bound book with a laminated, printed cardboard cover. Light wear, small tears and chips to the front\/back cover corners and edges. Interior is fine with bright and clean pages. Overall, well preserved. With the celebrated “Museum Books“ (perhaps a distributor for this book) label on rear inside cover.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34941442818209,"sku":"","price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Walter-Marti.jpg?v=1595189012"},{"product_id":"john-deere-corporate-identity-manual","title":"John Deere Corporate Identity Manual","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eJohn Deere Corporate Identity Manual, c. 1972-80. Deere \u0026amp; Company, Moline, Illinois. 10.25 x 11.5, ring binder, loose-leaf system with (8) individual folders. Designed by Deere \u0026amp; Company Advertising Department.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn original \u003c\/span\u003e\u003cspan\u003eJohn Deere Corporate Identity Manual \"to establish guidelines that will help assure that this visual impression is favorable and consistent and reflects a modern and progressive company.\" \u003c\/span\u003e\u003cspan\u003eForeword by William A. Hewitt, Chairman of Deere \u0026amp; Company and seven individual folders or sections \u003c\/span\u003e\u003cspan\u003econtaining either loose single sheets or stapled booklets printed in black and white and color. : 1. Trademark and Signatures 2. Reproduction Prints, 3. Color Standards (perforated color swatches), 4. Signs, 4\u003c\/span\u003e-A. Example Signage, 5. Stationary, 6. Stationary Samples and 7. Slide Presentation Guide. Interestingly, there is no section devoted to typography, although Univers 67 (Photo Typositor) is identified as the alphabet used for the signage program.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1968, the \u003c\/span\u003eJohn Deere logotype was designed by Robert Vogele (RVI Corporation). It used custom lettering based on the Helvetica typeface. Additionally, the deer image was streamlined to show a straight-side silhouette with only two legs and one four-point rack of antlers. This manual appears to be using the same styles.\u003c\/p\u003e\n\u003cp\u003eNearly fine with only light handling. One of the \u003cspan\u003eReproduction\u003c\/span\u003e\u003cspan\u003e Prints sheets has been used and includes \u003c\/span\u003ecut outs. \u003cbr\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34948608393377,"sku":"","price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/John-Deere.jpg?v=1595204364"},{"product_id":"josef-albers-art-as-experience-the-teaching-method-of-a-bauhaus-master","title":"Josef Albers: Art as Experience: The Teaching Method of a Bauhaus Master","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eJosef Albers: Art as Experience: The Teaching Method of a Bauhaus Master edited by Samuele Boncompagni, 2013. Silvana Editoriale, Milan, Italy. \u003c\/span\u003e9.625 x 11.25, pp. 96 with Italian and English text.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan id=\"omschrweb\"\u003eHard to find Italian import; perhaps out of print.\u003cem\u003e Art as Experience\u003c\/em\u003e\u003ci\u003e \u003c\/i\u003ediscusses the relationship of Albers's teaching with his art. Heavily illustrated, it presents never-before-seen works by Albers's students from the Bauhaus and elsewhere, along with little known studies and other art by Albers himself, and reveals the vibrancy and extraordinary impact of Josef Albers's groundbreaking pedagogical methods. Foreword by Nicholas Fox Weber, Executive Director, the Josef and Anni Albers Foundation and four individual author contributions: Meeting Josef Albers; Teaching Design: A Shorty History of Josef Albers; \u003cspan\u003eJosef Albers: \u003c\/span\u003eArt as Experience; and Engaging with the Master: A Hands-on Introduction to the Methods of Josef Alber's Teaching. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA new, unread, \u003c\/span\u003eimport with only a hint of wear.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34948609933473,"sku":"","price":85.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Josef-Albers.jpg?v=1595181222"},{"product_id":"about-u-s-experimental-typography-by-american-designers-4-volumes","title":"About U.S. — Experimental Typography by American Designers (4 Volumes)","description":"\u003cp\u003eAbout U.S. — Experimental Typography by American Designers, 1960. The Composing Room (Dr. Robert Leslie, Hortense Mendel and Aaron Burns), New York, NY. Four individual volumes, 6.75 x 9.5, pp. 16. All text written by Percy Seitlin.\u003c\/p\u003e\n\u003cp\u003eA series of 16-page inserts reprinted from Der Druckspiegel, graphic arts magazine, Stuttgart, Germany. Conceived, edited, set in type in New York and produced under the sponsorship of The Composing Room, Inc. The complete set includes: \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCome Home to Jazz designed by Herb Lubalin\u003c\/li\u003e\n\u003cli\u003eThat New York designed by Brownjohn, Chermayeff and Geismar\u003c\/li\u003e\n\u003cli\u003eThe Age of Auto designed by Lester Beall\u003c\/li\u003e\n\u003cli\u003eLove of Apples designed by Gene Federico\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eA nearly fine set with a hint of wear without the publisher's slipcase. A few individual issues available, please reach out if you are trying to complete your set.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34950620446881,"sku":"","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/About-US6.jpg?v=1600630931"},{"product_id":"environment-idc-aspen-1962-poster","title":"Environment: IDC Aspen 1962 [Poster]","description":"\u003cp\u003eEnvironment: IDC Aspen, International Design Conference June 24 through June 30, 1962. 20 x 24.5, Lithograph by Hillison \u0026amp; Etten Company, Chicago. Design by Ralph Eckerstrom and John Massey.\u003c\/p\u003e\n\u003cp\u003eSince 1951, the International Design Conference in Aspen (IDCA) founded by Walter Paepcke, president of the Container Corporation emulated the Bauhaus philosophy by promoting a close collaboration between modern art, design, and commerce and served as a forum for designers to discuss and disseminate current developments in the related fields of graphic arts, industrial design, and architecture.\u003c\/p\u003e\n\u003cp\u003eA near fine poster with light wear near the edges, small crease and old tape on the back corners. Poster will be rolled and shipped in a tube. The poster's larger size is included in the collection at the Museum of Design, Zurich (Object No. \u003ca href=\"https:\/\/bit.ly\/2RbiDEK\" target=\"_blank\" title=\"Environment: IDC Aspen 1962\" rel=\"noopener noreferrer\"\u003eG-2709\u003c\/a\u003e).\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34972380889249,"sku":"","price":185.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/IDC1.jpg?v=1595279011"},{"product_id":"marina-city-a-city-within-a-city-john-massey","title":"Marina City: A City Within A City [John Massey]","description":"\u003cp\u003eMarina City: A City Within A City, 1962. \u003cspan\u003eMarina Management Corporation, Chicago, USA. \u003c\/span\u003e12.5 x 12.5, pp. xx. Sales Catalog with Slipcase for Bertrand Goldberg Associates, Architects — Engineers. Designed by John Massey.\u003c\/p\u003e\n\u003cp\u003eA rare, promotional and sale catalog with a screen printed white and red paper wrapper wrapper (slipcase). Designed for potential clients by John Massey for Bertrand Goldberg's iconic residential towers for the Marina City (1961–1964) complex in Chicago, perhaps \u003cspan\u003ethe architects \u003c\/span\u003emost celebrated commission.\u003c\/p\u003e\n\u003cp\u003eA sophisticated production with french fold, embossed white covers and multiple paper stocks and specialty printing throughout. Massey's thoughtful graphic design and typography features: a soft, minimal palette, intricate diagrams and information design, unfussy streetscape maps, floor plans, an impressive, oversized fold-out photo of the towers and a die-cut page holding the original Rental Application and Interior Planning Aid with punch-out shapes for planning the furniture in the apartment.\u003c\/p\u003e\n\u003cp\u003eA nearly fine catalog with light wear to the bottom edge and a small split to the head of the spine. The original, good yet fragile wrapper has several tears and chips along the edges but has protected the catalog nicely over the years. Catalog \u003ca href=\"https:\/\/www.wright20.com\/auctions\/2018\/02\/florsheimgoldberg-an-extended-conversation\/143?search=marina+city\" target=\"_blank\" title=\"Marina City: A City Within a City\" rel=\"noopener noreferrer\"\u003esold\u003c\/a\u003e at Wright Auction's Florsheim\/Goldberg Sale in 2018.\u003cbr\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":34972436201633,"sku":"","price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Marina-City1.jpg?v=1595267881"},{"product_id":"the-moderns-midcentury-american-graphic-design","title":"The Moderns: Midcentury American Graphic Design, 2017 [Steven Heller, Greg D'Onofrio]","description":"\u003cp\u003e\u003cem\u003eThe Moderns: Midcentury American Graphic Design\u003c\/em\u003e by Steven Heller and Greg D'Onofrio, 2017. Abrams Books, USA. 9.5 x 11.5, 336 pages. Designed by Kind Company. Heavily illustrated with more than 785 color illustrations; many never published before. More at: \u003ca href=\"https:\/\/themodernsbook.com\" title=\"The Moderns: Midcentury American Graphic Design\" rel=\"noopener noreferrer\" target=\"_blank\"\u003ethemodernsbook.com\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eModernism transformed American graphic design in the mid-twentieth century and established a visual language that still carries tremendous authority. The Moderns is the first comprehensive survey of this phenomenon that shaped our visual environment, presenting the work and lives of sixty-three graphic designers.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“I love this book so much. It’s almost as if you had downloaded my brain and retro-engineered a book where I would just plotz over every single illustration. Thank you, thank you, thank you.” ―\u003c\/span\u003e\u003cspan class=\"a-text-bold a-text-italic\"\u003e\u003ca href=\"https:\/\/www.pentagram.com\/about\/michael-bierut\" rel=\"noopener\" target=\"_blank\"\u003eMichael Bierut\u003c\/a\u003e, Pentagram Design\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSome were émigrés (including five Bauhaus students and faculty) who brought the gospel of Modernism to America from its sources in Europe. Others were homegrown talents who continued the legacy in the design capitals of New York, Chicago, and Los Angeles from around 1937 with the founding of the New Bauhaus to 1970, the height of the International Typographic Style. Some of these designers are well-known, others are honored in this volume for the first time.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eInterviews: “\u003c\/span\u003eSteven Heller and Greg D'Onofrio on six modernist works that impacted the world of design.\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e” \u003cmeta charset=\"utf-8\"\u003e―\u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.itsnicethat.com\/articles\/steven-heller-greg-donofrio-the-moderns-graphic-design-031017\" target=\"_blank\"\u003eIt's Nice That\u003c\/a\u003e and \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“\u003c\/span\u003eHeller and D’Onofrio on the eclectic Modernists who defined an era.\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e” \u003cmeta charset=\"utf-8\"\u003e―\u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.typeroom.eu\/article\/heller-and-d-onofrio-eclectic-modernists-who-defined-era\" target=\"_blank\"\u003eTyperoom\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eLike Modernism itself, this selective group had varying viewpoints and methods yet were bound by governing principles of function, clarity, and simplicity held together through geometry, abstraction, and minimalism. Brand new hardcover, still in the original publisher's shrink wrap.\u003cbr\u003e\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35145392586913,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/moderns.jpg?v=1595205558"},{"product_id":"1972-original-knoll-calendar-massimo-vignelli","title":"1972 Original Knoll Calendar [Massimo Vignelli]","description":"\u003cp\u003eKnoll Calendar, 1972. Copyright 1970, Knoll International. 12” x 12”, 368 total sheets. Grafiche A. Nava, Milano, Made in Italy. Designed by Massimo Vignelli. Offset printing in one color.\u003c\/p\u003e\n\u003cp\u003eMounted on a metal backing, this Vignelli designed wall calendar includes individual sheets from: Saturday, January 1, 1972 to Sunday, December 31, 1972 designed with a special light weight paper for ease in tearing off the sheets day by day. The calendar opens with a sheet showing the full range of dates for 1972 and ends with one for 1973. Included is the original heavy white cardboard packaging with a black and white “1972 Knoll Calendar” label affixed. A minimal Vignelli design featuring large Helvetica numbers (more than 7 inches high) and tightly spaced text in white on black — 1972 never looked this cool. Published a few years before his now iconic Max365 perpetual wall calendar.\u003c\/p\u003e\n\u003cp\u003eThis is new, old stock that has been sitting in storage for approx. 48 years. There are some light water stains on the packaging resulting in a musty smell when the calendar is removed. The metal backing is a bit rusty and the outside cardboard box has some old tape and wear. Some light handling on the calendar covers but they have never been used. Despite any issues, still a rare, original Massimo Vignelli design artifact.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35145410314401,"sku":"","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Knoll-Calendar7.jpg?v=1606606233"},{"product_id":"kieler-woche-rolf-muller-original-poster","title":"Kieler Woche: Rolf Müller [Original Poster]","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e[Original Poster] Kieler Woche, 4. bis 11. juni, 1972. \u003cspan\u003eKieler Woche, \u003c\/span\u003eKiel, Germany. 16.5 x 23.5. Design by Rolf Müller (1940–2015), widely celebrated for his design contributions\u003cspan\u003e with Otl Aicher for the Munich Olympic Games in 1972.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003eBeginning in 1950, the Kieler Woche (sailing event) annual poster competition is Europe's most prestigious. Each year, a selected, expert committee personally invites five German and\/or European designers or practices to participate and submit no more than three entries. \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eWithout an image or literal representation, M\u003c\/span\u003e\u003cspan\u003eü\u003c\/span\u003eller broke from tradition and relied exclusively on experimental typography to create an abstract image which curves and bends to evoke a wind-blown sail — a poetic solution relying on visual clarity and acuity to \u003cspan class=\"s1\"\u003eintensify the message. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA fine and increasingly difficult to find original Kieler Woche poster. \u003cspan\u003ePoster will be rolled and shipped in a tube\u003c\/span\u003e.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35146732208289,"sku":"","price":275.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Kieler-Woche1.jpg?v=1595293928"},{"product_id":"helvetica-type-specimen-12-varieties","title":"Helvetica Type Specimen [12 varieties]","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eHelvetica, 1967. D. Stempel AG\u003c\/span\u003e\u003cspan\u003e, Frankfurt am Main, Germany. 8.25 x 8.625, pp. 28. Printed in Germany.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHelvetica stapled \u003c\/span\u003especimen provided for importers for the U.S. and Canada: Amsterdam Continental Types Inc. (New York, Chicago and Burbank) with Linotype matrices available from Mergenthaler Linotype Company (Brooklyn, NY). From the informative introduction by an unknown author: \"The first series in the Helvetica family was presented to the American graphic arts community in 1963, and it rapidly achieved a popularity paralleling its European acceptance\" and \"The formal, functional and technical qualities of Helvetica have conjoined to make it one of those typefaces which outlast time and style\" — the rest is history! Featuring twelve varieties: Light, Regular, Regular Italic, Medium, Bold, Bold Compact Italic, Regular Extended, Bold Extended, Extra Bold Extended, Regular Condensed, Bold Condensed and Extra Bold Condensed.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGood with soiling and small creases to the iconic white covers, some ink notes on a few pages, with the top of one page torn. The specimen has been handled.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35147028562081,"sku":"","price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Helveticasmall.jpg?v=1595179935"},{"product_id":"join-joy-art-gallery-invitation-ladislav-sutnar","title":"Join Joy Art Gallery Invitation [Ladislav Sutnar]","description":"\u003cp\u003eJoin Joy Art, 1969. Original gallery invitation for \"Ladislav Sutnar at Shuster Gallery (536 Third Avenue at 36th Street, New York), September 16 to October 4, 1969.\" 6 x 9, folded once.\u003c\/p\u003e\n\u003cp\u003eSutnar's Joy–Art exhibition featured his pop art, geometric nude paintings. The interior has the vibrant, silkscreen featuring the \"Venus \/ all the way to USA \/ 1968\" painting accompanied by a short poem on the opposite panel. Would look lovely framed!\u003c\/p\u003e\n\u003cp\u003eA fine, uncirculated original design by Ladislav Sutnar. This invitation is included in the collection at the Museum of Modern Art, New York (Object No. \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/129073?sov_referrer=artist\u0026amp;artist_id=0\u0026amp;page=2\" target=\"_blank\" title=\"Join Joy Art Gallery Invitation Ladislav Sutnar\" rel=\"noopener noreferrer\"\u003e416-2009\u003c\/a\u003e).\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35156809875617,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/venus1.jpg?v=1595278493"},{"product_id":"the-printing-art-quarterly-new-bauhaus-prospectus-laszlo-moholy-nagy","title":"The Printing Art Quarterly: New Bauhaus Prospectus [Laszlo Moholy-Nagy]","description":"\u003cp\u003eThe Printing Art Quarterly [and 1937 Exhibition of Design in Printing], Volume 67, Number 2, 1937. A Dartnell Publication, Chicago. 10 x 13.25, pp. 154 including trade advertising. Cover design by Art Director, Willard Grayson Smythe.\u003c\/p\u003e\n\u003cp\u003eFeaturing several important and early published American texts related to Laszlo Moholy-Nagy and the New Bauhaus, American School of Design, Chicago, Illinois, founded by The Association of Arts and Industries in 1937.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e“A New Instrument of Vision” by Laszlo Moholy-Nagy, a 4-page article discussing photography and its influence on the modern age. Illustrated with four of his photographs. “The illiterates of the future will be ignorant of the use of the camera and pen alike.”\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe above is followed by a shorter tribute: “Moholy-Nagy and the New Bauhaus” by William A. Kittredge and includes two illustrated images; a negative “Cat” print and an abstract photogram.\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eA 12-page catalog (school prospectus) for The New Bauhaus, American School of Design designed by Moholy-Nagy is produced in full with photographic covers featuring information re: the school's founding and history, Educational Program (curriculum diagram, courses, etc.), Faculty, Information, Calendar and more. This is the school’s first course catalog outlining the four-year curriculum.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eVery good with edge and corner wear, a cut-out to one page related to the STA 11th Annual Exhibition of Design in Printing and a loose page. The compressed and twisted plastic binding makes some of the pages a little hard to turn; still excellent reference material related the the New Bauhaus, Chicago.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35156815839393,"sku":"","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Printing-Art-Quarterly1.jpg?v=1595268985"},{"product_id":"design-systems-for-corporations-b6-basic-design-elements-and-their-systems","title":"Design Systems for Corporations: B6 Basic Design Elements and Their Systems","description":"\u003cp\u003eDesign Systems for Corporations B6: Basic Design Elements and Their Systems by The CoCoMAS Committee, 1st ed., 1983. \u003cspan\u003eSANNO Institute of Business Administration Publications Department\u003c\/span\u003e, Tokyo, Japan. 8.75 x 11.75, pp. 126 with Japanese and English text. Printed in Japan.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eUncommon Japanese import with an introduction from 1976 by CoCoMAS Director, \u003ca href=\"http:\/\/www.designculture.it\/interview\/motoo-nakanishi.html\" target=\"_blank\" title=\"Motoo Nakanishi\" rel=\"noopener noreferrer\"\u003eMotoo Nakanishi\u003c\/a\u003e featuring (9) corporate identity case studies from the USA, United Kingdom, Korea and Japan. including: Citibank (Anspach Grossman Portugal, Inc.), P\u0026amp;O (Wolff Olins Limited), Deloitte Haskins \u0026amp; Sells (Siegel \u0026amp; Gale, Don Ervin), Watneys (Pentagram Design, John McConnell), Kenwood (PAOS Inc.), Cummins (Paul Rand), Clarks \u003cspan\u003e(Pentagram Design, John McConnell), The Citizens National Bank (Young Jae Cho) and Washington Zoo (Wyman \u0026amp; Canaan Ltd., National Zoo Office of Graphics and Exhibits, Robert Mulcahy). Heavily illustrated in color (many uncommon examples) with summaries and captions throughout.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCoCoMAS is responsible for publishing important volumes (A, B and C Series and others) devoted to corporate identity. A fine softcover book with only a small tear near the spine of the printed glossy wrapper.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35157085487265,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/B6.jpg?v=1595269113"},{"product_id":"electric-circus-signed-reprint-poster","title":"The Electric Circus, New York City [Signed, Reprint Poster]","description":"\u003cp\u003eThe Electric Circus, Opens June 28, 1967, East Village, New York City. \"Reprinted in  2017 by the AIGA to Celebrate the 50th Anniversary of the Electric Circus and the 60th Anniversary of the Designers Chermayeff \u0026amp; Geismar \u0026amp; Haviv.\" 19 x 28.5, signed in the lower corner in black marker by Tom Geismar.\u003c\/p\u003e\n\u003cp\u003eFrom the Chermayeff \u0026amp; Geismar \u0026amp; Haviv website: “A visualization of the idea of electricity for a popular disco in New York City was achieved by mixing and overlapping positive and negative type, much in the spirit of the décor of the club.” Learn more about this poster's experimental \u003ca href=\"https:\/\/fontsinuse.com\/typefaces\/39480\/electric-circus\" target=\"_blank\" title=\"The Electric Circus\" rel=\"noopener noreferrer\"\u003elettering\u003c\/a\u003e and \u003ca href=\"https:\/\/fontsinuse.com\/uses\/6663\/the-electric-circus-posters-flyers-ads\" target=\"_blank\" title=\"The Electric Circus\" rel=\"noopener noreferrer\"\u003efascinating\u003c\/a\u003e history.\u003c\/p\u003e\n\u003cp\u003e A fine poster a bit of curling (due to the thick paper stock) and still bright colors. This poster will be rolled and shipped in tube.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35180259672225,"sku":"","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/Electric-Circus1.jpg?v=1595292044"},{"product_id":"107-graphic-designers-of-agi-franco-grignani-small-poster","title":"107 Graphic Designers of AGI: Franco Grignani [Small Poster]","description":"\u003cp\u003e107 Graphic Designers of AGI (Alliance Graphique Internationale), November 18 – December 12, 1975. Presented by Olivetti in cooperation with the Art Gallery of Ontario held at Toronto Dominion Bank Tower, Observation Gallery (55th Floor), Toronto. 11 x 15.75, printed on glossy stock. Design by Franco Grignani.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eC\u003c\/span\u003e\u003cspan class=\"s1\"\u003eelebrated for his distinguished career, Grignani assiduously experimented with \u003c\/span\u003eoptical designs and photographic manipulation and their effects on typographic distortion and legibility. This poster, which is a bit more restrained than other experiments, \u003cspan\u003erejects the logic of a fixed logo.\u003c\/span\u003e\u003cspan\u003e Instead, Grignani \u003c\/span\u003eskews and distorts the letters until the \u003cspan\u003etype becomes an image and \u003c\/span\u003ethe trademark is presented in a new, unusual manner. “Typography is like music, it must reach the senses of the listener and viewer,” Grignani once said.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAn uncommon poster in fine condition \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ewith \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ethe slightest\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e hint of wear\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e; \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ea \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efresh and bright copy\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. \u003c\/span\u003ePoster will be rolled and shipped in a tube. A larger size of this poster is also \u003ca href=\"https:\/\/bookstore.thisisdisplay.org\/products\/107-graphic-designers-of-agi-franco-grignani-large-poster\" title=\"107 Graphic Designers of AGI Grignani Small Size\" target=\"_blank\"\u003eavailable\u003c\/a\u003e.\u003c\/p\u003e","brand":"Display, Graphic Design Collection","offers":[{"title":"Default Title","offer_id":35182430159009,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0425\/4148\/2145\/products\/AGIsmall5.jpg?v=1602441727"}],"url":"https:\/\/bookstore.thisisdisplay.org\/collections\/sold-out.oembed?page=2","provider":"Display, Graphic Design Collection","version":"1.0","type":"link"}