Erik Spiekermann

Explains what type is, demonstrates how to select it, and examines its use in printed communication.

FontBook from FSI FontShop International For almost 10 years now, FSI FontShop International have published their typeface compendium, well-known in the trade under the name FontBook. The 1500 page edition features 24,500 typeface samples from 65 type foundries. It also includes more than 64,000 references of foundries, font names and font styles, formats, similarities, date of design and availability. Some features of FontBook * 24,500 type samples* 4,850 font packages and families* 64,000 typographical footnotes and cross-references* 65 type foundries* all type samples in one volume* sorted by style category into nine chapters* lists platform availability* refers to other typefaces in the FontBook which have similar characteristics* designer's name and year of publication; historical references* clear font display, comprehensible icons, footnotes with extra information* tabulators for easy access to the individual chapters* non-latin section with information about encodings and installation in 3 languages* editorial chapter with typographical tips, tricks, trends and examples of application in 3 languages* comprehensive selection of foreign language fonts and utilities* all introductory texts in English, French and German* Pi & Symbols section with enlarged font showings* bound in hardcover* separate 160 page FontFinder showing all the fonts in alphabetical order* FontBook measures 11.75" x 6.5" x 2.125" and weighs approx. 6lbs. FSI FontShop International is the only company having monitored and evaluated the world-wide growing market of digitized typefaces consistently and the results are summarized in this reference book. The FontBook editors have selected typefaces according to visual criteria and marketability. Only original fonts are listed, no cloned or copied typeface designs. New vendors in the FontBook include Thirstype, House Industries, Garage Fonts, 2Rebels etc. The alphabetical section is now structured according to font Sans, Serif, Slab, Script, Display, Blackletter, Non-Latin/Accented and Pi & Symbols. The Non-Latin/Accented section is sorted first of all according to languages/encodings, in alphabetical order within these categories. Another section deals exclusively with the experimental typefaces of FUSE publications which have been released by FSI FontShop International since 1991. Entertainment is guaranteed by the new chapter "Holy Type". It contains font hitparades, typographical world records, tips and trends as well as an interview with Adrian Frutiger and background information about barcodes and multi-user licensing. Additionally, the essay "Trivial Typography" examines the growing popularity of industrial typefaces in graphic design. Each FontBook comes with a 160 page FontFinder, a separate brochure which lists all FontBook typefaces in one-line showings in alphabetical order. It is the perfect tool for users who know the font name and want to find the FontBook section in which this font will be shown. Experienced users will appreciate the FontFinder as a quick reference guide.

Translated from German by author. Illustrated with type specimens + photographs. No dust jacket as issued; enclosed in cardboard slipcase. Includes yellow cloth bookmark sewn-in.

Ein Leitfaden durch den Buchstabendschungel: Ein Schriftmusterbuch und eine Zusammenstellung von Beispiellayouts, ein Crashkurs in Schriftgeschichte, eine Einführung in Schriftsatz und Seitenspiegel und ein Vorrat an Blindtexten.

A unique description of 26 of the leading typefaces in typography, with biographies of their designers, their histories, development sketches and applications.

Design culture is obsessed with authenticity. Copying is often deemed reprehensible, and borrowing another's idea or incorporating elements of his or her work into one's own is viewed as a sign of creative impoverishment. But is this right? What's wrong with interpreting someone else's creation? Musicians have been quoting each other's work for centuries--why shouldn't the same thing happen in other creative disciplines? Where does quotation end and copying begin, and how original is an original anyway? Is intellectual property protection appropriate in an age of digital distribution, when it's difficult to identify a product's author, maker, or inventor? And in a culture in which quotation and copying have long led to enrichment and innovation, should these acts be made impossible? In this book, several thinkers from the worlds of design, architecture, art, business, and copyright law elaborate on the future of copyright and the right to copy.