Futurist typography and the liberated text / Alan Bartram.
By: Bartram, Alan
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Material type: 
BookPublisher: London : British Library, c2005Description: 160 p. ill. (some col.) ; 29 cm. + hbk.ISBN: 0712348867.Subject(s): Graphic design (Typography) -- HistoryDDC classification: 686.22 | Item type | Current library | Call number | Copy number | Status | Barcode | |
|---|---|---|---|---|---|---|
| General lending | MTU Bishopstown Library Lending | 686.22 (Browse shelf(Opens below)) | 1 | Available | 00105871 |
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Enhanced descriptions from Syndetics:
Written by a leading writer on graphic design and typography, this book traces the development of Futuristic typography, and describes examples of around 80 Futurist books or other designs for print, including translations, so that a new understanding of this extraordinary language, and of Futurist typography, emerges.
Includes bibliographical references (page 160) and index.
Introduction -- French precursors: liberating the poetic form -- Marinetti and friends: recreating everything anew -- Artist-poets in Russia: illustration + words -- Dada: illogic and chance, perhaps -- Lacerba: a tumultuous assembly -- L'Italia Futurista: experiences of war, and birdsong -- The Revolutionaries.
This book traces the development of Futuristic typography, placing it within the context of artistic and literary movements: Futurist poets, Dadaists, and the Russian Futurists with their irregular handwritten lettering and vigourous drawings. With new translations of the texts illustrated, this volume examines a range of Futurist publications and other designs for print, many of them not widely known. By attempting to convey the meaning of these sometimes almost untranslatable works, a new understanding of this lextraordinary language, and of Futurist typography, emerges.
Reviews provided by Syndetics
CHOICE Review
This is a fascinating introduction to the avant-garde poetry, typography, and graphic design of the first two decades of the European 20th century. The contribution of Filippo Marinetti and the Futurists is emphasized. Works by French Symbolist precursors, Russian Futurists and constructivists, and Dadaists are also beautifully illustrated and thoroughly documented. This book examines the works of European poets who chose to be typographers. The Futurists and their revolutionary colleagues believed that by using type as image, the poet could express ideas unavailable through the simple word. This direct communication is vividly demonstrated in many images reproduced here, including those of Kurt Schwitters's Ursonate, Kruchenych's poems, Zdanevich's Le-Dantyu, and Italian Futurist concrete poems by Marinetti, Boccioni, Carra, Soffici, and others. The reproductions are remarkable and otherwise very difficult to find. With these designs at hand, the reader will be better able to understand the beginnings of Dada, surrealism, constructivism, and other visual forms of the modernist avant-garde. Making these images more available, this book is an important contribution to the history of design and typography. Short, helpful bibliography. Summing Up: Highly recommended. All levels. R. M. Labuz Mohawk Valley Community CollegeAuthor notes provided by Syndetics
Alan Bartram is a book designer and the author of many graphic design titles.(Bowker Author Biography)