Lettera 2

Fülszöveg

Armin Haab / Walter Hsettenschweiler
LETTERA 2
A standard book of fine lettering Standardbuoh guter Gebrauchsschnften Recueil de lettres et caracteres
LETTERA 1 appeared in 1954. In spite of some technically uninformed criticism and the boycott of certain pundits in the realms of typography and graphic design, the book is now being bought in its fourth edition in 58 countries. Borne fonward on the wave of a continuing boom, publicity production has reached unprecedented heights. In an age of rush and breathless living it was scarcely possible for the graphic designer to spend long days on the creation of a new typeface and it was difficult to charge for the time spent on this kind of work.
Rationalisation became essential. Typographic composition rapidly gained ground in many fields of work, and display sans serif only would not do. It was LETTERA that sprang into the gap and supplied the graphic, decorative and fancy typefaces that were needed.
With the constant change of... Tovább

Fülszöveg

Armin Haab / Walter Hsettenschweiler
LETTERA 2
A standard book of fine lettering Standardbuoh guter Gebrauchsschnften Recueil de lettres et caracteres
LETTERA 1 appeared in 1954. In spite of some technically uninformed criticism and the boycott of certain pundits in the realms of typography and graphic design, the book is now being bought in its fourth edition in 58 countries. Borne fonward on the wave of a continuing boom, publicity production has reached unprecedented heights. In an age of rush and breathless living it was scarcely possible for the graphic designer to spend long days on the creation of a new typeface and it was difficult to charge for the time spent on this kind of work.
Rationalisation became essential. Typographic composition rapidly gained ground in many fields of work, and display sans serif only would not do. It was LETTERA that sprang into the gap and supplied the graphic, decorative and fancy typefaces that were needed.
With the constant change of taste, there is an insatiable demand for new typefaces. Of course, the limits of any changes in typeface are set by the criterion of legibility. All the same, a sensitive and receptive public, which is ready to give careful attention to an original daub on the hoarding, has also become somewhat more tolerant towards the legibility of a fount provided the effect is attractive enough. Neither the newspaper designer nor advertising agency — let alone the window dresser - can really take the town by storm with display sans serif. They all need new and surprising
is need will be fillet by LETTERA 2 as the logical addition to LETTERA 1. Whereas it was mainly classical or rediscovered typefaces that dominated the field in LETTERA 1, we have this time 27 original alphabets specially drawn for this book which take the old theme of the typeface and produce some entirely new forms. 9 pages of specimens illustrate and vary these new creations. 8 other alphabets were either rescued from oblivion or represent the latest creations of the graphic studio. In conclusion 25 pages of specimen show modern trends in typefaces taken from practice. With its wide variety of time-tried types and its new creations, LETTERA 2 once again amply justifies its subtitle; A standard book of fine lettering.
In order to facilitate adaption and to satisfy the wishes of the type users, we reproduced all the typefaces as large as possible. To permit any form of variation we have again given preference to clear reproduction in line and done without the reproduction of half-tone originals.
1954 kam LETTERA 1 heraus. Trotz einer zum Teil von Fachkenntnis völlig unbelasteten Kritik und trotz des Boykotts gewisser Typo- und Grafikpäpste wird dieses Buch heute in der 4. Auflage in 58 Ländern ständig gekauft. Warum dieser Erfolg?
Auf der Welle einer anhaltenden Konjunktur stieg die Reklameproduktion ins Ungemessene. Der Grafiker als Schriftgestalter hat keine Zeit, sich tagelang mit der Schöpfung einer neuen Schrift zu befassen, ein Arbeitsaufwand, der zudem schwerlich in Rechnung gestellt werden kann. Eine Rationalisierung drängte sich auf. In weiten Arbeitsgebieten nahm die typografische Komposition überhand. Doch dies genügte in keinem Fall. Hier sprang LETTERA In die fehlenden grafischen, dekorativen
und phantastischen Schriften.
Im koMtanten Wandel des Geschmackes sind neue Schriften fo^ährend gefragt. Ein nervöses, effektanfälliges Publi- el|en Klecks an der Plakatwand der Leserlichkeit einer Schrift
nug geworden, sofern diese attraktiv ge-
Zeitschriftengrafiker, noch eine Werbeagentur,
die Dauer alleir^ Vissza