The following bibliographic reference is only a selection. Where possible,  a link to the publisher has been provided. Links open in a new window.

Albers, J.
Interaction of colour, revised  edn, New Haven: Yale University Press, 1975.
Andel, J.
Avant-garde page design: 1900-1950, New York: Delano Greenidge Editions, 2002.
Andel, J. et al.
Ladislav Sutnar: Prague – New York – design in action, Prague: Museum of Decorative Arts in Prague & Argo Publishers, 2003.
Baines, P.
Penguin by design: a cover story 1935-2005, London: Penguin Books/Allen Lane, 2005.
Bartram, A.
Bauhaus, modernism and the illustrated book, London: The British Library, 2004.
Futurist typography and the liberated text, New Haven, CT: Yale University Press, 2005.
Bayer, H.
Bauhaus, 1919-1928, New York: Museum of Modern Art, 1938.
Bezzola, T.
Andre Breton: dossier dada, Zurich: Hatje Cantz Verlag, 2005.
Biesele, I.G.
Graphic design international: creative work of selected colleges of design from 12 countries, Zurich: ABC Verlag, 1977.
Bignens, C. et al.
Max Bill: typography, advertising, book design, Sulgen/Zurich: Verlag Niggli AG, 1999.
Bill, M.
Form, function, beauty = gestalt (Architecture words, no. 5), London: AA Publications, 2010.
Form: eine Bilanz uber die Formentwickung um die Mitte des xx. Jahrunderts, Basel: K. Werner, 1952.
Bordes, J. et al.
Toys of the avant-garde, Malaga: Museo Picasso Malaga, 2010.
Bosoni, G. et al.
Max Huber, London: Phaidon Press Ltd., 2006.
Breton, A.
Manifestoes of surrealism (transl. Seaver and Lane), Ann Arbor:University of Michigan Press, 1969.
Bringhurst, R.
Elements of typographic style, revised edn, Vancouver: Hartley and Marks Publishers, 1996.
Le Corbusier
Journey to the east (transl. Zaknic), Cambridge, MA: The MIT Press, 1987.
The nursery schools (transl. Levieux), New York: The Orion Press, 1968.
The modulor (transl. de Francia and Bostock), London: Faber and Faber, 1954.
Towards a new architecture (transl. Etchells), London: The Architectural Press, 1946.
Dewey, J.
Art as experience, New York: Berkley Publishing Group, 1934.
Diethelm,W.
Form + communication: way to visualization, Zurich: ABC Verlag, 1974.
Symbol: handbook of international signs, Zurich: ABC Verlag, 1970.
Dondis, D.
A primer of visual literacy, Cambridge, MA: The MIT Press, 1973.
Elam, K.
Geometry of design: studies in proportion and composition, New York: Princeton Architectural Press, 2001.
Grid systems: principles of organizing type, New York: Princeton Architectural Press, 2004.
Typographic systems, New York: Princeton Architectural Press, 2007.
Fairbank, A.
A book of scripts, London: Faber and Faber Ltd., 1977.
Favre, J-P. and November, A.
Colour and communication, Zurich: ABC Verlag, 1979.
Fiell, C. and P. (eds.)
1000 lights: 1960 to present, vol. 2, Koln: Taschen, 2005.
1000 lights: 1879 to 1959, vol. 1, Koln: Taschen, 2005.
Scandinavian design, Koln: Taschen, 2002.
Froebel, F.
The education of man (transl. Hailmann), New York: Appleton, 1900.
Gerstner, K.
The forms of colour: the interaction of visual elements, Cambridge, MA: The MIT Press, 1986.
Kompendium für Alphabeten, Sulgen/Zurich: Verlag Niggli AG, 1972.
Gill, E.
An essay on typography, 2nd edn, London: Sheed & Ward, 1936.
Gropius, W.
Scope of total architecture, New York: Harper, 1955.
Hochuli, J.
Detail in typography: letters, letterspacing, words, wordspacing, lines, linespacing, columns, London: Hyphen Press, 2008.
Designing books: practice and theory, London: Hyphen Press, 1996.
Hofmann, A.
Graphic design manual: principles and practice, Sulgen/Zurich: Verlag Niggli AG, 1965.
Hollis, R.
Swiss graphic design: the origins and growth of an international style 1920-1965, New York: Yale University Press, 2006.
Hornung, C. P.
Handbook of designs and devices, New York: Dover Publications, Inc., 1946.
Hoshino, E. et al.
Tenugui, Tokyo: PIE Books, 2007.
Itten, J.
The elements of colour (transl. van Haagen), New York: Van Nostrand Reinhold, 1970.
Design and form: the basic course at the Bauhaus (transl. Maass), New York: Reinhold Publishing Corp., 1964.
The art of colour: the subjective experience and objective rationale of colour (transl. van Haagen), New York: Van Nostrand Reinhold Co., 1961.
Kandinsky, W.
Point and line to plane (transl. Dearstyne & Rebay), New York: S. R. Guggenheim Foundation for Museum of Non-Objective Painting, 1947.
Concerning the spiritual in art, New York: George Wittenborn, Inc., 1947.
Kepes, G.
Language of vision: painting, photography, advertising-design, Chicago: Paul Theobald and Co., 1944.
The new landscape in art and science, Chicago: Paul Theobald and Co., 1956.
Kepes, G. (ed.)
Education of vision, New York: George Braziller, Inc., 1965.
Structure in art and in science, New York: George Braziller, Inc., 1965.
The nature and art of motion, New York: George Braziller, Inc., 1965.
Module, proportion, symmetry, rhythm, New York: George Braziller, Inc., 1966.
The man-made object, New York: George Braziller, Inc., 1966.
Sign image symbol, New York: George Braziller, Inc., 1966.
Kinross, R.
Modern typography: an essay in critical history, London: Hyphen Press, 2004.
Unjustified texts: perspectives on typography, London: Hyphen Press, 2002.
Klee, P.
Pedagogical sketchbook, London: Faber and Faber, 1968.
Kuwayama, Y.
Trade marks & symbols, 2 vols, New York: Van Nostrand Reinhold Co., 1973.
Leborg, C.
Visual grammar, New York: Princeton Architectural Press, 2006.
Lesnikowski, W. et al
East European modernism: architecture in Czechoslovakia, Hungary and Poland between the wars 1919-1939, New York: Rizzoli International Publications, 1996.
Lidman, D.
Treasury of Stamps: 1,200 rare and beautiful stamps in color, New York: Harry N. Abrams, 1975.
Lupton, E.
Thinking with type: a critical guide for designers, writers, editors, and students, New York: Princeton Architectural Press, 2004.
Lupton, E. and Miller, J.A. (eds.)
The ABCs of [triangle square circle]: the Bauhaus and design theory, New York: Cooper Union for the Advancement of Science and Art, 1993.
Lutteman, H. and Uggla, M. (eds.)
The Lunning prize, Stockholm: Nationalmuseum, 1986.
McLean, R.
How typography happens, London: The British Library, 2000.
Jan Tschichold: typographer, Boston: David R. Godine, 1975.
Moholy-Nagy, L.
The new vision: fundamentals of design, painting, sculpture, architecture, New York: W.W. Norton & Co., 1938.
Vision in motion, Chicago: Paul Theobald  and Co., 1947.
Muller-Brockmann, J.
Grid systems in graphic design: a visual communication manual for graphic designers, typographers and three dimensional designers, Sulgen/Zurich: Verlag Niggli AG, 1981.
The graphic designer and his design problems, Zurich: Verlag Niggli AG, 1961.
Muller-Brockmann, J. and S.
History of the poster, Zurich: ABC Verlag, 1971.
Munari, B.
Design as art, London: Penguin Books Ltd., 1966.
Air made visible: A visual reader on Bruno Munari, Switzerland: Lars Muller Publishers, 2000.
Nandaro, A.
Cesky filumenisticky design, Tokyo: PIE Books, 2005.
Nojima, J. et al.
Matchbox label collection 1920s-40s, Tokyo: PIE Books, 2004.
Pack, S.
Film posters of the Russian avant-garde, Koln: Taschen, 1995.
Pflughaupt, L.
Letter by letter: an alphabetical miscellany, New York: Princeton Architectural Press, English ed. 2007.
Rand, P.
From Lascaux to Brooklyn, New Haven, CT: Yale University Press, 1996.
A designer’s art, New Haven, CT: Yale University Press, 1985.
Thoughts on design, New York: George Wittenborn, Inc., 1947.
Reiner, I.
Grafika: modern design for advertising and printing, New York: Paul A. Struck, 1947.
Remlov, A. (ed.)
Design in Scandinavia: an exhibition of objects for the home, Oslo: Kirstes Boktrykkeri, 1954.
Rowell, M. and Wye, D.
The Russian avant-garde book 1910-1934, New York: Museum of Moden Art, 2002.
Ruder, E.
Typographie, Sulgen/Zurich: Verlag Niggli AG, 1967.
Schlemmer, O. et al.
The theatre of the Bauhaus, Middleton: Wesleyan University Press, 1961.
Schmittel, W.
Corporate design international: definition and benefit of a consistent corporate appearance, Zurich: ABC Verlag, 1984.
Schwarz, A.
The complete works of Marcel Duchamp, New York: Delano Greenidge Editions, 2000.
Srp, K. et al.
Karel Teige a typographie, Prague: Arbor Vitae Press, 2009.
Stoddart, J. et al.
Seven hundred penguins, London: Penguin Books, 2007.
Sullivan, L.
Kindergarten chats and other writings, New York: George Wittenborn, Inc., 1947.
Sutnar, L.
Design and paper (13): controlled visual flow, New York: Marquardt and Co., 1943 (reproduced 2003).
Design and paper (19): shape, line and colour, New York: Marquardt and Co.,1945 (reproduced 2003).
Triet, M. and Wobmann, K.
Swiss sports posters, Zurich: ABC Verlag, 1983.
Tschichold, J.
Treasury of alphabets and lettering, New York: Reinhold Publishing Corp., 1966.
The new typography (transl. McLean), Berkeley: University of California Press, 1995.
Vignelli, M.
The Vignelli canon, New York: Adobe PDF, 2008.
Wingler, H.
The Bauhaus : Weimar, Dessau, Berlin, Chicago, Cambridge, Mas. : MIT Press, 1978.
Wirth, K.
Drawing: a creative process, Zurich: ABC Verlag, 1976.
Wong, W.
Principles of color design, New York: Van Nostrand Reinhold, 1987.
Principles of two-dimensional design, New York: Van Nostrand Reinhold, 1972.
Zahle, E. (ed.)
A treasury of Scandinavian design: the standard authority on Scandinavian-designed furniture, textiles, glass, ceramics, and metal, New York: Golden Press, 1961.

Back to top

Oliver Tomas

  • Design historian and archivist based in Vancouver, Canada.
  • info[at]olivertomas[dot]com