The occasion of Grafiche Antiga’s fiftieth anniversary offers a good pretext to bring to life a work, rich in images and content, that not only retraces the history of the Tipoteca museum, but above all puts materials and documents of absolute value in the spotlight. And the book itself becomes a journey into printing, with the shrewd use of papers and techniques that know how to give the printed book ‘character’ in the digital age, starting above all with the three inserts printed in letterpress with historical typefaces from the Tipoteca archive.
Designed by London-based graphic designer Simon Esterson, with visual narration by photographer Claudio Rocci and texts by Italian and foreign scholars, Tipoteca. Una storia italiana is a tribute to the beauty of books and typography, with special emphasis on typefaces and machines, an authentic historical heritage saved by Tipoteca and made still accessible to the public thanks to years of commitment and passion.
Published by Antiga Edizioni Edited by Leonardo Facchin and Sandro Berra Preface by Lucio Passerini Texts by James Clough, Cesare De Michelis, Jost Hochuli, Alan Kitching, Mathieu Lommen, Arnaldo Loner, Bill & Jim Moran, James Mosley, Erik Spiekermann, Enrico Tallone, Alberto Vigevani Photographs by Claudio Rocci Book design Simon Esterson
23 × 29 cm 320 pages Over 230 images Hardback with slipcase Three letterpress inserts Italian/English Isbn 9788884350992
How many times have you challenged friends in memory games? Finally now you can do it combining elements of modernist typography!
The package contains a set of 54 cards with all the letters of the alphabet and a liar with the indications of name, typography and place of origin of each single character. Each paper was printed with a wooden letter preserved from the Anonima Impressori typeface collection!
Cards: Matt coated carat paper 350 gm Painting with wooden characters and original friezes.
Booklet: Lito-offset printing Shiro Echo Favini paper 130 gm
Ninety years after the first and only edition, Ronzani reproposes this small classic of typography in facsimile, which also allows us to visually appreciate the didactic vocation of the book.
In Come nasce un libro (How a book is born) (1931) Raffaello Bertieri recounts in a flat manner, with didactic precision and a wealth of examples, all the phases of book production, from the typesetting of the texts to the actual printing and binding, showing in detail how interdependent the various phases are, and how accuracy and precision are essential to the realisation of the work. After decades of profound changes, concerning not only technology, publishing and graphics, but also the whole cultural and social phenomena behind book production, these pages – an expression of Bertieri’s ‘functionalist’ approach to graphic design – maintain their interest intact, both as a first-rate document on the state of the book art in the 1920s and 1930s, and for the topicality of the lessons and considerations on the qualities a book must have in order to satisfy, first and foremost, the reader’s needs.
Ninety years after the first and only edition, Ronzani reproposes this small classic of typography in facsimile, which also allows us to visually appreciate the book’s didactic vocation.
Published by Ronzani Editore 256 pages Paperback Isbn 978-88-94911-60-2
The Printing Office catalogue is enriched by an extraordinary new title, which has now become a cult for typography enthusiasts.
If fonts such as Optima, Palatino, Melior exist in the graphics industry today, we owe it to their creator, Hermann Zapf. This first book by Zapf, published in Italy by Edizioni Valdonega in 1991 – with a preface by Bruno Munari – aims to introduce a character known worldwide for his fonts and his extraordinary skills in the field of calligraphy and publishing graphics.
Over 300 illustrations are distributed in the volume, which is divided into two parts. The first consists of 144 pages of plates, printed in various colour scales, which significantly represent Zapf’s work. In the second, numerous biographical texts are used to trace the various stages of his studies on calligraphy and type design, and to describe his most recent research in the field of digitalisation.
The volume is aimed at enthusiasts of typography, lettering and calligraphy.
Published by Edizioni Valdonega Texts by diy Hermann Zapf Preface by Bruno Munari
20.5 × 30 cm 280 pages Over 300 illustrations Canvas board with dust jacket and slipcase Italian Isbn 88-8503-20-2