Kompendium Fur Alphabeten

[/wide] Hardcover: 180 pages
Publisher: Arthur Niggli
Language: German
ISBN-10: 3721202368
ISBN-13: 978-3721202366
Product Dimensions: 15.9 x 15.6 x 3.2 cm
Release Date: 2000

amazon stock for your reference in UK

amazon stock for your reference in US


Karl Gerstner is one of Switzerland’s—and therefore the world’s—best and best-known graphic and typographic designers. His high ambition in this book, first published in German in 1972, is to provide a complete and systematic taxonomy of writing, a programmed investigation into the underlying structure of script and type; Gerstner writes that his book is meant to “encompass the aspects and possibilities of the alphabet in their totality.”

It is this systematic and programmatic approach that sets the book apart. Most studies of typography and its larger graphic setting and context are concerned with the history of the development of writing and printing, or are collections of typographic models or typical examples, or are textbooks on layout and design. This one is organized into five sections that take up, in turn, Script and Speech—the relation between writing and language, different alphabets, reading directions (the eye follows directions and moves in a direction), style; Manual Graphics or craft—materials, tools, methods, procedures, reproductive techniques; Images—letter pictures, word pictures, sentence pictures, handwriting, size, proportion, type weight, form, harmony, texture, brightness, color; Function—as effected through dimensioning, spacing, grouping, layout, integration; and Expression—as achieved through coordination, articulation, emphasis, diversion, and the spirit of play.

As a physical object, the book is more than a passive repository of examples of typographic display. It makes a dynamic and integrated typographic statement of its own and as a whole as it progresses and develops in accordance with its internal program. The book is nearly square and opens vertically rather than horizontally. Type is printed on only one side of the sheets, which are folded back on themselves along the outer edge to form double leaves, so that there is no distracting show-through “noise.” There are words printed in blind embossing and stencil cutouts. And color is used with an elegant restraint, appearing only at the book’s mid-section climax—its very sparseness amid the prevailing sharp black and white contributes a luxurious effect.



Karl Gerstner 1930-

スイス Basel生まれ

バーゼル工芸学校でEmil RuderとArmin Hoffmanに師事。1949年にGeigy社に勤めた後、53年によりフリーランスに。基礎デザインを近代的なグラフィックデザインの手法に展開。
59年、広告代理店を設立。62年、GGK (Gerstner, Gredinger, Kutter)に社名を変更。70年、GGKを退き、絵画とタイポグラフィに専念。第2世代スイス派グラフィックデザイン界にあって、理論書の著作も多く、世界的な影響力を持ったデザイナーの一人。

参考文献 20世紀のポスター「タイポグラフィー」

Post Your Thoughts

このサイトはスパムを低減するために Akismet を使っています。コメントデータの処理方法の詳細はこちらをご覧ください