Herbert Spencer [Editor]: TYPOGRAPHICA 8. London: Lund Humphries, December 1963. First edition [New Series]. A near-fine perfect-bound magazine in stiff printed wrappers with a near-fine uncoated dustjacket printed in one color. Here is an opportunity for Graphic Design/modern typography aficionados to own an original edition of the legendary Typographica magazine, coveted by multiple constituencies since editor Herbert Spencer vocally championed emerging trends such as Concrete Poetry, Semiotics and avant-garde Book Design.
8.25 x 10.75 magazine with 70 pages printed on a wide variety of stocks. Highlights of this issue include two illustrated articles on Concrete Poetry (with examples by Ian Finley Hamilton and Josua Reichert) and an extremely early assessment of the graphic work of Holland designer and filmmaker Paul Schuitema. Highly recommended.
Reproduction techniques for this issue include letterpress and offset-lithography. . Inks include both spot colors and metallics. Custom Binding includes a 30-inch, 3-color gatefold and Joshua Reichert's concrete poetry printed in letterpress.
Typographica was the brainchild of founder, editor, designer and renowned typographer Herbert Spencer, and had a brief life, totalling 32 issues published between 1949 and 1967. But its influence stretched and stretches far beyond its modest distribution and print runs of the time. For many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs, and techniques not seen since.
Spencer never intended to turn a profit, so no expenses were spared in production (just like Alexey Brodovitch's Portfolio). Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter faces, street lettering, matches, and avant-garde poetry all found their way into the magazine.
Issue 8 (December 1963: 70-pages) Contents:
Urbane, prolific and unfailingly modest, Spencer was a reformer dedicated to improving standards of design in a field dominated by the printing industry's outdated conventions. But he was also an aesthete with a connoisseur's eye for the wild modernist innovations with letterforms and layout of the 1920s. Spencer launched the seminal publication, Typographica, in 1949, when he was 25, and edited, designed and sometimes wrote for it for 18 years. Equally at home publishing one of the first articles in Britain about concrete poetry (then an international phenomenon), or an illustrated study of the design challenges presented by Braille, he was a new kind of designer-editor, able to think both visually and verbally, and to fuse images and words in meaningful new relationships.
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