A steady seller in the design and typography fields
The very book that has been a guide for designers on typefaces for the past 15 years.
Revised edition of "33 Typefaces for Good Design" published

Published by Semicolon in 2007, "33 Typeface Stories for Creating Good Design" is an introductory book on typography written by a Korean author that has been consistently loved by many readers for a long time.
This book, which selects 33 essential typefaces from the history of Western typography and tells the stories of their creation and the designers who created them, has firmly established itself as a must-read for design majors.
In particular, it served as a guide for font selection for designers in typography-related fields such as visual design, advertising design, fashion, and branding, and provided knowledge and information to those interested in fonts.

Fifteen years after the first edition, a revised edition of "33 Typeface Stories for Creating Good Design" is being published.
In this revised edition, information has been supplemented to adapt to the changing design environment, and the contents of the first edition have been reviewed and errors corrected.
The revised edition retains the 33 fonts covered in the first edition, but adds a new type called '19th Century Display Font Styles' to the existing font classification.
This is a very vibrant type in the history of typography, giving us a glimpse into the various exaggerated and decorative types that appeared in the advertising era of the 19th century.
Additionally, the existing appendix containing basic font terminology and chronology has been supplemented with content related to 'punctuation marks' to help users utilize punctuation marks in English typography.

Garamond is still loved today as a beautiful and comfortable body text font, and as a title font that gives messages a dignified and soft tone.
When typographer Jan Tschichold was commissioned by German type foundries in the 1960s to design a body typeface suited to the new era and technology, his choice was Garamond.
---From "Garamond, the prototype of an elegant and dignified serif typeface"

When The Times introduced Times New Roman on October 3, 1932, the new typeface immediately gained popularity among designers, and a year later in the United States, it began to be released and sold under the name Times Roman.
Stanley Morrison, a typographer and historian, designed only one typeface in his lifetime, but its influence was immense, and the history of Times Roman continues.

---From "Times Roman, an 'all-weather' font created for newspapers"

City is the font that served as the basis for the logo of IBM, the American company that pioneered and became synonymous with personal computers.
In 1956, legendary American graphic designer Paul Rand started with this typeface with a strong linear impression and created a logo that visually conveyed the values ​​of accuracy and trustworthiness, with an impressive space within the square of the capital letter B.
However, as he watched the logo being used, he felt that it had some shortcomings and revised it again four years later. That is the 'stripe logo' that has contributed to building the brand identity of IBM without much change to this day.
---From "Bertolt City, the font that became the basis for the IBM logo"

The irregular thickness and awkward curves of early sans-serif typefaces cannot be found in Akzidenz Grotesk.
Fonts without serifs of a consistent thickness are basic forms that have eliminated all unnecessary elements, and the uneven width of letters is organized to ensure an even rhythm and space.
Akzidenz Grotesk was chosen as the typeface for 'New Typography', one of the 20th-century modernist movements, because it is a sans-serif typeface with excellent form and the most universal form that does not reveal the personal inclination of the type designer.
---From "Akzidenz Grotesk, a font that continues the tradition of new typography"

Helvetica was used extensively by multinational corporations, especially during the booming 1960s and 1970s, to build their visual identities.
Helvetica's neutral, readable form, free of exaggeration, and associated with precision, sophistication, and trustworthiness, has been used in a wide range of applications, from subway signs in major cities like New York and Tokyo to the identity designs of airlines like Lufthansa and American Airlines.
American graphic designer Michael Vanderbyl said, “In the late 1960s and 1970s, Helvetica wasn’t just a typeface.
“It was a lifestyle,” he said, which gives an idea of ​​the visual environment that Helvetica was occupying at the time.

---From "Helvetica, the official typeface of the 20th century"

The typeface Avant-Garde existed only in uppercase until it was commercially released in 1970 by ITC, the typeface company founded by Herb Lubalin and Aaron Burns.
Experts have pointed out that avant-garde fonts are being abused and misused in ways that go against their original design intent.
In fact, when the uppercase and lowercase avant-garde letters are written without alternative letter pairs and with normal kerning, they fail to bring out the special characteristics of the avant-garde, such as tension and wit.
Herb Lubalin focused on the visual impression of words or sentences formed by letters coming together, so he used minimal letter spacing and line spacing.
In his work, we experience powerful typographic messages that put 'seeing' ahead of 'reading'.

---From "Avant-garde, a typeface born in the golden age of American magazine design"