TYPOGRAPHICA 13
New Series
Herbert Spencer [Editor]
London: Lund Humphries, June 1966. First edition [New Series]. 8vo. Perfect bound and stitched printed wrappers. Printed dust jacket. 64 pp. Illustrated articles and period trade advertisements. Multiple paper stocks. Elaborate graphic design throughout. Spencer's legendary experimental typographic journal is coveted by multiple constituencies since Spencer vocally championed emerging trends such as Concrete Poetry, Semiotics and avant-garde Book Design. Yellow jacket reveal faiant soiling and an irregular binding crease to front panel, otherwise a nearly fine copy in a nearly fine dust jacket.
9.5 x 12.25 magazine with 62 pages printed on a variety of paper stocks. Reproduction techniques for this issue include letterpress and offset-lithography. Paper stocks include matte and uncoated. Custom Binding includes bound-in printed vellum sheets.
Contents:
Tombstone Lettering on Slate by Frederick Burgess
Hong Kong Signs by Henry Steiner
Aesthetic Pattern Programmes by Eckhard Neumann on Wolfgang Schmidt
Type Size: a system of dimensional references by Ernst Hoch and Maurice Goldring
Of the Just Shaping of Letters book review by James Sutton
Typographica was the brainchild of founder, editor, designer and renowned typographer Herbert Spencer (Great Britain, 1924 – 2002), 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.
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.
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.
TYPOGRAPHICA 13
New Series
Herbert Spencer [Editor]
London: Lund Humphries, June 1966. First edition [New Series]. 8vo. Perfect bound and stitched printed wrappers. Printed dust jacket. 64 pp. Illustrated articles and period trade advertisements. Multiple paper stocks. Elaborate graphic design throughout. Spencer's legendary experimental typographic journal is coveted by multiple constituencies since Spencer vocally championed emerging trends such as Concrete Poetry, Semiotics and avant-garde Book Design. Yellow jacket reveal faiant soiling and an irregular binding crease to front panel, otherwise a nearly fine copy in a nearly fine dust jacket.
9.5 x 12.25 magazine with 62 pages printed on a variety of paper stocks. Reproduction techniques for this issue include letterpress and offset-lithography. Paper stocks include matte and uncoated. Custom Binding includes bound-in printed vellum sheets.
Contents:
Tombstone Lettering on Slate by Frederick Burgess
Hong Kong Signs by Henry Steiner
Aesthetic Pattern Programmes by Eckhard Neumann on Wolfgang Schmidt
Type Size: a system of dimensional references by Ernst Hoch and Maurice Goldring
Of the Just Shaping of Letters book review by James Sutton
Typographica was the brainchild of founder, editor, designer and renowned typographer Herbert Spencer (Great Britain, 1924 – 2002), 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.
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.
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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