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But of course modern typography was not the abrupt invention of one man or even of one group. It emerged in response to new demands and new opportunities thrown up by the nineteenth century. The violence with which modern typography burst upon the early twentieth-century scene reflected the violence with which new concepts in art and design in every field were sweeping away exhausted conventions and challenging those attitudes which had no relevance to a highly industrialized society.
Interior pages featuring the work of Piet Zwart (1929), Herbert Bayer (1923), and Jan Tschichold (1929).
From a first edition of Pioneers of Modern Typography by Herbert Spencer, published in 1969 by Lund Humphries, London. Pulled from the PAPress Design Dept. bookshelf.
From the book Casa Alta: An Andalusian Paradise.
Photograph by Richard Barnes.
“House on the Barrens,” from Houses of Maine, a monograph of Elliott + Elliott Architecture. The book is available here from PAPress.
Enter for your chance to win at howdesign.com.
Linocut menu cover by Patricia Curtan.
THE GREENEST HOME BOOK PARTY!
Wednesday, June 5
Panel Discussion, 6–7 pm
in Kellen Auditorium
Laura Briggs, Jared Della Valle, Karin Klingenberg, Tim McDonald, and David White; moderated by Julie Torres Moskovitz
Signing and reception, 7–8 pm
in the lobby
Sheila Johnson Design Center
Parsons New School for Design
2 West 13th Street, New York
Julie Torres Moskovitz is the founding principal of the collaborative design firm Fabrica 718 in Brooklyn. She retrofitted New York City’s first certified Passive House in Park Slope, Brooklyn.
Bryan Nash Gill
I was introduced to Bryan’s work a little over two years ago, and shortly after, my colleague Sara and I visited his studio in Connecticut. I was blown away by his stunning prints and space (he built his studio adjacent to his house, surrounded by carefully kept gardens and wild woods). Even more so, I was taken by his overwhelming enthusiasm and kindness. He grilled a chicken for us from a neighbor’s farm and made a big salad, and as we discussed art, books, and his work, it felt like we had known each other for years.
By the following May, we had produced a beautiful book together, Woodcut, and in the process had become great friends. I am particularly proud of this book. I loved working on it and I loved working with Bryan. I reach for it often when I’m in need of inspiration or perspective—or a friend. Bryan Nash Gill passed away on May 17th. We miss you, Bryan.
Data Diaries by Cory Arcangel, 2003
Arcangel tricked his computer into reading its memory as if it were a QuickTime movie. No complicated substitutions or interpretations were necessary, and no predetermined conversions were set up, such that a certain value from the memory file would cause a specific result. This was a direct translation, similar to reciting driving directions aloud like poetry.
From Form+Code in Design, Art, and Architecture by Casey Reas, Chandler McWilliams, and Jeroen Barendse.
Design: A Creative Approach, published by International Textbook Company, 1955. From the PAPress Design Dept bookshelf.
A new addition to the PAPress Design Dept bookshelf: Full Color by Karel Martens, published by Roma Publications.
Artist Eero Saarinen’s list of his wife’s good qualities, ca. 1954, from the Lists, to-dos and illustrated inventories of great artists.
First he recognized that she was very clever. Makes you wonder what first impression you make.
Elliman encouraged 25 students and friends to explore the written, spoken, and associative qualities of language by each interpreting one of the letters.
Lettering for Architects and Designers, published in 1962 by Reinhold Publishing Corporation, New York. From the PAPress Design Dept bookshelf.
An outtake from the more than 600 quotes considered for The Designer Says. Saul Bass was by far the most quotable. Inside, you’ll find four more quotes from him on pages 7, 19,143, and 153.