{"title":"Biblio Test","description":"","products":[{"product_id":"why-stamps","title":"Ivan Chermayeff: Why Stamps?","description":"\u003cp\u003eA good graphic designer pays attention to small things, and there are few things smaller than postage stamps. Ivan Chermayeff paid attention. For almost fifty years the acclaimed graphic designer made collages—and in those collages stamps and mail played an important role. Envelopes are heads. Stamps are eyes and lips. However, one could be forgiven for never having noticed this, as the whole in Chermayeff’s collages is greater than the parts.\u003c\/p\u003e\n\u003cp\u003eIn this limited edition of \u003cem\u003eWhy Stamps?\u003c\/em\u003e Chermayeff calls attention to the parts with a brief essay on postage stamps and a selection of fourteen collages which use stamps and mail to the best possible effect. Also included are two of Chermayeff’s smallest cut-paper collages: Stamps for the USPS and Royal Mail.\u003c\/p\u003e","brand":"Kat Ran Press","offers":[{"title":"Default Title","offer_id":31657998254144,"sku":"","price":155.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/products\/WhyStamps.jpg?v=1587592213"},{"product_id":"dlia-golosa-for-the-voice-1923","title":"Dlia golosa (For the Voice) (1923)","description":"\u003cp\u003eWe’ve been sitting on this one for a while. How does one write a description for a book that’s in just about every single survey of graphic design? We’re just gonna copy and paste with abandon. Published in 1923, the concrete poetry book \u003cem\u003eFor the Voice\u003c\/em\u003e can be described as El Lissitzky’s tour de force of textual visualization. In collaboration with Vladimir Mayakovsky who contributed the poems, El Lissitzky brought type together with geometric shapes that were used to build symbols (such as the Communist hammer and sickle), clip art (such as the pointing finger that can be found on several pages of the book) and copious amounts of white space that helped push these elements to the foreground—all of which were colorized in the suprematist hues of red, black and white—in order to achieve a book of poems that were meant to be seen rather than read. (All that was from \u003ca href=\"https:\/\/www.homage-to-el-lissitzky.com\/for-the-voice\" target=\"_blank\"\u003ehere\u003c\/a\u003e.) And now \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/14473\" target=\"_blank\"\u003efrom MoMA\u003c\/a\u003e: Lissitzky's innovations in graphic and book design are strikingly visible in his landmark project For the Voice, a collection of thirteen of the best-known poems by Russian Futurist poet Vladimir Mayakovsky. The poems were intended to be read aloud, and Lissitzky designed a thumb index with titles to help the reader quickly locate a desired verse. He also designed title pages for each of the poems, constructing images by combining typefaces of various sizes printed in red and black.\u003c\/p\u003e\n\u003cp\u003eThis copy came to us from \u003ca href=\"https:\/\/vimeo.com\/45232468\" target=\"_blank\"\u003eInge Druckrey\u003c\/a\u003e and we’ve had a beautiful new box made. Super-special. \u003ca href=\"https:\/\/vimeo.com\/887435400?share=copy\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWatch a little movie »\u003c\/a\u003e\u003c\/p\u003e","brand":"I241D","offers":[{"title":"Default Title","offer_id":44439684153584,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/FortheVoice.jpg?v=1700686197"},{"product_id":"manuale-typographicum-1954-oblong","title":"Manuale Typographicum","description":"\u003cp\u003eWe’re just gonna rip this description straight from Jerry Kelly’s \u003cem\u003eOne Hundred Books Famous\u003c\/em\u003e in Typography because it’s cold and our fingers are stiff and we can just copy this text from the book with our camera and paste it here:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eMeticulously printed at the Stempel Typefoundry, where he worked early in his career, Zapf’s \u003cem\u003eManuale\u003c\/em\u003e differs in significant ways from previous typographic manuals, such as those by Fournier and Bodoni: it is printed only in red and black, and each arrangement fills a standard type area. Every page contains a complete alphabet showing along with a text on typography or the alphabet selected from writings in sixteen different languages. Within those parameters, one finds a wonderfully diverse assortment of typographic arrangements in this volume, some in centered and conservative arrangements, while others are decidedly modern and asymmetric, with the occasional line running sideways, and in several instances of over-printed letterforms. Jan Tschichold wrote that Zapf’s 1954 \u003cem\u003eManuale Typographicum\u003c\/em\u003e “is a masterpiece of invention and just as masterfully typeset.”\u003c\/p\u003e\n\u003c!----\u003e","brand":"HIG","offers":[{"title":"Default Title","offer_id":46037919006960,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/ManualeTypographicum.jpg?v=1770672558"},{"product_id":"tm-a-retrospective-exhibition-of-american-trademarks-from-1945-to-1963","title":"TM: A retrospective exhibition of American trademarks from 1945 to 1963","description":"\u003cp\u003eAre you sitting down? This one is just . . . awesome. We know that’s a lame word. \u003cem\u003eAwesome.\u003c\/em\u003e But we are in some awe. This is a showing of 193 American trademarks, symbols, and logotypes chosen by a jury of leaders in the field of design (by which we mean men) that was represented in TRADEMARKS\/USA, the first national retrospective exhibition of its kind. First of all, it is an exceptional showing of what can be done with just two colors: Ebony and ivory, living together in perfect harmony. Second, when we flip through, we see marks we recognize and think, \u003cem\u003eOh. He designed that?!\u003c\/em\u003e And then there are other marks we see every day and we think, \u003cem\u003eOh. Who they heck is that designer?!\u003c\/em\u003e It’s full of surprises. All of these marks are on loose flats, so they’ll be perfect for an exhibition (or scanning). In addition to the 193 marks in the show, also included is a 56-page booklet which shows all the logos that were rejected from this exhibition. And even the rejects are good! Or, interesting. We spot some Paul Rands and Saul Basses that were rejected, so even the big boys sometimes missed the mark.\u003c\/p\u003e","brand":"used","offers":[{"title":"Default Title","offer_id":46676310458608,"sku":null,"price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/TM.jpg?v=1728753458"},{"product_id":"dot-dot-dot-3","title":"Dot Dot Dot 3","description":"\u003cp\u003eThis bi-annual independent art\/design publication which began life as a graphic design magazine, but whose content gradually widened to cover art, music, language, film, and literature, eschewed both commercial portfolio presentations and stuffy academic theory. Instead it offered a wide variety of inventive critical writing on all aspects of culture. This one has contributions by Kim Levine, Wigger Bierma, Joep van Lieshout, Ryan Gander, Conny Purtill, Rodger Bridgman, Peter Biľak, Daniel van der Velden, Erik van Blokland, Christopher Wilson, Shumon Basar, and John Morgan.\u003c\/p\u003e","brand":"VIAUG","offers":[{"title":"Default Title","offer_id":46718012096752,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/DotDotDot3.jpg?v=1769468727"},{"product_id":"matrix-20","title":"Matrix 20","description":"\u003cp\u003eThis book is good—but selling it won’t yield enough profit to justify writing a thoughtful description or photographing it with care. Sometimes we just gotta move units, you know? But we wouldn’t go through the trouble of even writing this much if we didn’t think the book adequately covered its topic and was worth having. Priced to move!\u003c\/p\u003e","brand":"HIG","offers":[{"title":"Default Title","offer_id":47900737667312,"sku":null,"price":80.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Matrix20.jpg?v=1754764206"},{"product_id":"left-to-their-own-devices","title":"Left to Their Own Devices","description":"\u003cp\u003eIt can be helpful to see how different people solve the same problem. What’s the problem here? The barely 5-years-old Typophiles needed a device—or, a logo. This fat little brick holds 150 solutions to the problem. Problem solvers include Angelo, Eichenberg, Fass, Goudy, Menhart, Ritchie, Rogers, Ruzicka, Schiller, and Reynolds Stone. There are all sorts of names you’d expect and some surprising ones. Many marks are in color. Valenti Angelo’s is in a few colors plus gold. It’s a total sweetheart. Dwiggins designed the binding. The whole thing is delightful.\u003c\/p\u003e","brand":"HIG","offers":[{"title":"Default Title","offer_id":48182750576880,"sku":null,"price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/LefttoTheirOwnDevices.jpg?v=1760732962"},{"product_id":"offenbach-2","title":"Offenbach","description":"\u003cp\u003eHere’s a specimen book of Rudolf Koch’s Offenbach. \u003ca href=\"https:\/\/ksmallgallery.com\/products\/offenbach-1\"\u003eWe recently had a different Offenbach specimen\u003c\/a\u003e and suggested it was prepared for the English and U.S. markets because it didn’t show any of the Gothic lowercase. It was all caps. This one has the gothic lowercase which, frankly, totally changes the feel of the face—and not for the better. Interesting how that works, eh? The all-caps showings are modern and fresh. The upper-and-lowercase settings are gloomy and oppressive. Either way, this is a lovely thing with more sample settings than we’ve shown here. \u003c\/p\u003e","brand":"Used","offers":[{"title":"Default Title","offer_id":48735752847600,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Offenbach-1936_26e197cb-4437-45e1-8374-542a4b7ca66d.jpg?v=1768602621"},{"product_id":"schriftschreiben-fur-setzer","title":"Schriftschreiben für Setzer","description":"\u003cp\u003eAlthough titled in German, in the ol’ USA we’d call this one \u003cem\u003eFormal Writing for Compositors\u003c\/em\u003e. As noted in \u003ca href=\"https:\/\/ksmallgallery.com\/products\/jan-tschichold-shaping-typography-1925-2025\"\u003ethis excellent book,\u003c\/a\u003e it “addresses the need for compositors and other printing professionals to be able to sketch typefaces. Through this practice, they would better understand the qualities of letters and distinguish good design from bad. He begins with a brief historical overview to contextualise his teaching, illustrating the Trajan letter and early manuscripts such as the \u003cem\u003eBook of Kells.\u003c\/em\u003e He then introduces a system specifying which styles should be learned and in what order. He writes: ‘True proficiency requires diligent practice. Theoretical considerations are of virtually no use. The more you practice, the better. You should always learn to fully master one form first; then you’ll learn the next one all the faster.’” Seems like good advice. And this seems like an uncommon piece of Tschicholdiana and apparently there’s not a single copy in the U.S. \u003c\/p\u003e","brand":"Used","offers":[{"title":"Default Title","offer_id":48823766417648,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Schriftschreiben-fur-Setzer.jpg?v=1770926794"}],"url":"https:\/\/ksmallgallery.com\/collections\/biblio-test.oembed","provider":"Katherine Small Gallery","version":"1.0","type":"link"}