By Alexander S. Lawson
To the layman, all printing kinds glance an analogous. yet for typographers, image artists and others of that lunatic fringe who think that the letters we glance at day-by-day (and take totally with no consideration) are of profound value, the query of the way letters are shaped, what form they think, and the way they've got developed is still certainly one of passionate and carrying on with concern.
Lawson explores the enormous 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 study, drawings and synopses of typefaces, this booklet is an important addition to the library of an individual s typographic library. it really is, as Lawson states, now not written for the printer confident that there are already too many typefaces, yet really for that curious a part of the inhabitants that believes the other; that the subtleties of refinement as applies to roman and cursive letters haven't begun to be absolutely investigated and that the construction of the proper typeface is still a target to be as a lot wanted via current as via destiny variety designers. somebody intending to typographic knowledge should still personal and treasure this vintage.
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The Hammer type has become the first choice: among the: available uncials fur book printing, since: it seems to represent the: uncial char- 45 acter at its best. It has been used by numerous private·press printers for short works that call for a medieval appearance. Although it is obvious that today the uncial letter is a distinct deparmre from the standards by which we measure typographic legibility, we can nonetheless admire the vigorous character of Hanuner's interpretation. It has provided modern bookmaker:; with the oppulluniLy to produce period printing of authentically orthodox flavor but more legiblehence accessible- than its prototype.
The commercial typefounders, for example, took note of the widespread appeal of the Golden type and began to produce, not versions of the original Jenson, but undeviating imitations of Morris's type. But whereas William Morris required only one size of the Golden type, the founders, to meet the demands of their printer customers, had to cut a complete range of sizes, and it is here that the eccentricities inherent in this type- the slanted serifs, for instance- became most noticeable. These copies, obtainable under a variety of names (Jenson, Kelmscott, Ancient Roman, and others), were nevertheless purchased in great quantity.