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"Spend Your Alphabets Lavishly,"¿a quote from Victor Hugo¿s Les Misérables¿aptly describes the lifework of two principal figures in contemporary graphic arts: Hermann and Gudrun Zapf. The Zapfs' 50-year relationship with Rochester Institute of Technology is feted in this exhibition and catalogue, sponsored by RIT¿s Melbert B. Cary, Jr. Graphic Arts Collection. The show presents rare holdings of Zapf materials held at the Cary Collection¿the foremost Zapf archive outside of Germany.
Written as an anecdotal first-person account, the reader is treated to famed German calligrapher and typographer Hermann Zapf's personal recollections of technical breakthroughs. Zapf reveals milestones tracing his education in 1930s Germany, to his work on forefront of computer-aided typesetting in the 1970s, to the tour de force design of a complex calligraphic font-Zapfino in the late '90s. Vivid reproductions of Zapf's calligraphy, production proofs, typographic specimens, and photographs complete the portrait of one of the most prolific designers of our time. After a complete sell-out of the American edition, RIT Press is releasing a second edition of Alphabet Stories: A Chronicle of Technical Developments. This new edition is enhanced by the addition of a letterpress-printed broadside designed by Zapf. The insert was typeset and printed at the RIT Cary Graphic Arts Collection using its collection of rare metal "Virtuosa" type - Zapf's elegant script face originally released by Stempel Typefounders in 1952. This book is the first Hermann Zapf monograph to be typeset in the new Palatino Nova and Palatino Sans digital typefaces issued by Linotype.
Typophile Chapbook, New Series, 3. "Letterforms are things that nearly all of us in the Western world have learned to take for granted. We treat them much like door knobs, water taps, thermostats, and hinges. We evidently think (in defiance of all logic) that what we read or write matters far more than how it's read or written, and that letterforms are just a way to get there, as a door knob is a way to open a door," writes Robert Bringhurst in the Foreword to About More Alphabets. This book hopes to bring attention to a neglected topic by focusing on the letterforms of Hermann Zapf. From metal type to the digital characters, Hermann Zapf has composed exceptional type designs for seventy years. He can be considered one of the most important calligraphers of all time, as well as a most notable book designer and typographer. His typefaces are among the most beautiful and familiar in the world. This book, a companion volume to the Typophile Chapbook About Alphabets (1960, updated 1970), describes Zapfs post-1970 type designs and provides new research on many of the earlier types. In this volume, typographer and calligrapher Jerry Kelly describes the origins and history of numerous Hermann Zapf typefaces including Marconi, ITC Zapf International, Linotype Zapfino, and Zapf Civilité. Kelly also includes new information on the Palatino nova and Optima nova families. This new Typophiles Chapbook is profusely illustrated with type specimens and drawings, many of which have never before been reproduced. Illustrations include drawings by Zapf, comparisons of various types, early sketches, typefaces never issued, and a twenty-eight page image section of type specimens. Other types described include Hallmark Textura, AMS Euler fraktur bold, Zapf Renaissance italic swash, Medici script, Aurelia, AMS Euler, Zapf Renaissance, ITC Zapf Chancery, and Zapf Civilité. Robert Bringhurst calls Zapf one of historys greatest two-dimensional architects. He says, "Hermann Zapf has made letters so subtle, so lovely they bring tears to knowledgeable eyes. And there are very few people who know Zapfs work as well as Jerry Kelly. Read him and weep."
Over the past 50 years Hermann and Gudrun Zapf have designed some of the modern world's most unique and innovative typefaces. In fact, so ubiquitous is Hermann Zapf's Palatino that it has become a common default font on millions of laser printers around the globe. In honor of the Zapfs, an exhibition which traces the calligraphic evolution of several contemporary Zapf typefaces is being held in San Francisco in Fall, 2001. This book is catalog to the exhibition which also features the work of 14 other calligrapher/type designers who have been influenced by the Zapf's work including: Alan Blackman, Rick Cusick, Jean Evans, Phill Grimshaw, Akira Kobayashi, Richard Lipton, Jacqueline Sakwa, Robert Slimbach, Viktor Solt, Jovica Veljovic and Julian Waters.
This book is a thorough account of Hermann Zapf's contributions to the artistry and success of Hallmark Cards, an experience that is now fully blended into the company's rich heritage.Since the late '70s, designer Rick Cusick has provided, in articles and presentations, most of what has been written about the Hallmark/Zapf association. This beautifully illustrated book is a tribute to Zapf's own philosophy that the artist's challenge is to ensure, despite technology and mass production, that beauty is never lost.RICK CUSICK is Manager of Font Developoment for Hallmark as well as a respected designer, calligrapher and teacher working with the University of Kansas.
One hundred typographic pages are exhibited in this book, consisting of alphabets and quotations printed in various type styles. The quotations selected by the author concern types and printing, are from the past and the present, and are in 16 languages (translations are provided). Hermann Zapf is a noted type designer and he himself originally devised many of the type faces used here. Other faces were taken from the fonts of the Stempel foundry in Frankfurt/Main and historic faces came from that foundry's archives. The author has also designed the page layouts, choosing for this manual a horizontal format. The purpose of the manual is "to show the myriad possibilities of the expressiveness and beauty of type, whether individually or in massed text, by the use of purely typographic means." The original English edition of this work was limited to 1000 copies. In making it available to a larger audience, Paul Standard's comment, printed in the original, becomes more pertinent still: "In a world grown noisy and clamorous, reading remains among the very few quiet pleasures left to man. The present work hopes to be considered an attempt to bring a body of critical and expository comment to the widest circle of readers—comment upon every contributory element in bookmaking and printing generally, upon the design of letter forms and their disposition on the page. The very sight of so many different languages on these successive pages is itself a humanizing experience, suggesting as it does a striving for unity while preserving linguistic diversity by means of the printer's art." This "critical and expository comment" has been culled from a wide international range of writers, including both masters of literature and masters of the art of printing.