By Alexander S. Lawson
To the layman, all printing kinds glance an identical. yet for typographers, photo artists and others of that lunatic fringe who think that the letters we glance at day-by-day (and take totally without any consideration) are of profound value, the query of ways letters are shaped, what form they suppose, and the way they've got advanced is still considered one of passionate and carrying on with concern.
Lawson explores the gigantic territory of varieties, their improvement and makes use of, their antecedents and offspring, with precision, perception, and readability. Written for the layman yet containing exhaustive learn, drawings and synopses of typefaces, this e-book is a vital addition to the library of someone s typographic library. it's, as Lawson states, no longer written for the printer confident that there are already too many typefaces, yet relatively for that curious a part of the inhabitants that believes the other; that the subtleties of refinement as applies to roman and cursive letters have not begun to be absolutely investigated and that the creation of the precise typeface continues to be a target to be as a lot wanted via current as through destiny variety designers. somebody desiring to typographic knowledge should still personal and treasure this vintage.
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Additional resources for Anatomy of a Typeface
These latenineteenth-century types, generally referred to in our time as 'modem romans,' were: the product of the newly industrialized atmosphere of the: printer's craft, representing decades of deterioration in the printing process. Morris named the design that resulted from his study of fifteenthcentury typo'graphic letter forms the Golden type. The name is associated with the three-volume edition of the medieval manual The Golden Legend, which had been planned as the first production ofhis Kelrnscott Press (although its ambitious length delayed its publication).
61 CENTAUR issu~ In 1915 there was from the Montague Press at the Dyke Mill in Montague, Massachusetts, a slim quarto volume printed in an edition of 135 copies. The designer of this book was Bruce Rogers and· the printer was Carl Purington Rollins. For bibliophiles who collect the work of Rogers, The Centaur, by Maurice de Guerin, is one of the most desirable items. The little volume seldom appears in the booksellers' catalogues, though, as most of the copies are held by institutional libraries.
The: creator of such a revival- the first step in the evolution of Cloister Old Style- was William Morris. Writing in r89S, a year before his death, he: smwncd up his ideals as a printer inA Note by WiUimn Morris on His A~ in Founding the Kelmscott Press, in which he discusses the: rationhle behind his first choice of a type: for his printing venture: 1465, By insrina rather than by conscious thinking it over, I began by getting myself a font of Rbman type. And here what I wanted was a letter pure in 47 CLOISTER LIGHTFACE IS THE LATEST ADDITION TO THE CLOISTER FAMILY AND IS AN HISTORIC TYPE DESIGN ~MMMMMMMMHH~ LOISTERUGHTFACE is formed after the original type model of Nicolas Jenson of France, created and U5ed by him in his printing house inVenice in the year 1470, whom it made celebrated in his own time and famous for all time.