Victionary  | VICTIONARY

45,120원  | 20131115  | 9789881943972

Originally commissioned by the British newspaper The Times in 1931 in response to a critique of the previous typeface they used, the Times type family - including Times Roman, Times New Roman, and a number of other variants - has become one of the most commonly used throughout the world. Distributed by Microsoft with every copy of Windows since version 3.

 | VICTIONARY

0원  | 20130601  | 9789881943941

Celebrated in recent years in a retrospective exhibition at NY MOMA and in Gary Hustwit's 2007 documentary Helvetica, the sans-serif typeface Helvetica was designed in 1957 by Max Miedinger and Eduard Hoffman at the Haas Type Foundry in Switzerland.

Victionary  | Victionary

49,520원  | 20110818  | 9789881943897

Featuring fluent curves and strokes without serifs, DIN, released by Frankfurt's D Stempel AG foundry in 1923, is minimal in appearance, bold, striking, and highly legible. The design was based on a 1905 typeface for the Royal Prussian Railway Administration and was originally used for schematics and blueprints. As the typeface grew in popularity, it was released as a metal type, made into stencils for use on vehicles and in train yards, and used for street and building signage. DIN's structure has been accredited as an early forerunner of the typographic grid and widely used by signage and corporate identities around the world. FF DIN, a multi-weight version of DIN created by Albert-Jan Pool in 1995, has pervaded the contemporary design world, including cultural institutions, books, and magazine typography, and has been used for everything from chocolate packaging to the London Design Festival's posters to the NYC Ballet brand identity. I Love DIN focuses on DIN and its variations in contemporary graphic design and is the fourth volume of the I Love Type series.

Victionary/ /  | Victionary

0원  | 20110307  | 9789881732873

Every designer has a favorite typeface. More than a vehicle to transport words onto a page, a typeface can express taste, style, opinion, and attitude. The typeface a designer uses - and how he has manipulated it - reveals the personality and aesthetic of the designer himself. First designed by Herb Lubalin as a logo, not a typeface, Avant Garde has had a tumultous history. Once a representation of innovation and singularity, its popularity in the 1970s has given it a distinctly retro connotation in modern times. Its complex ligatures, particularly the distinctive dramatically-slanted A, are a challenge for any designer to master, and