By Alexander S. Lawson
To the layman, all printing varieties glance an analogous. yet for typographers, photograph artists and others of that lunatic fringe who think that the letters we glance at day-by-day (and take solely with no consideration) are of profound significance, the query of the way letters are shaped, what form they think, and the way they've got advanced continues to be considered one of passionate and carrying on with concern.
Lawson explores the substantial 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 a necessary addition to the library of somebody s typographic library. it truly is, as Lawson states, now not written for the printer confident that there are already too many typefaces, yet particularly 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 totally investigated and that the construction of the ideal typeface is still a target to be as a lot wanted by way of current as via destiny variety designers. a person meaning to typographic knowledge should still personal and treasure this vintage.
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Additional info for Anatomy of a Typeface
Morris Fuller ~~nton had bcco~ a type designer through the Circumstance of havmg for a father Lmn Boyd Benton, a typefounder and the inventor, ho less, of the pantograph device, patented in 188s, which had mechariized the craft of punchcutting. It was this machine that freed typefounding from the laborious procedure of cutting by ss BOOKE II. CHAPTER XI. 97 •the world knoweth. and especially such rhing~ as have drawne-on • publike effects, and of such consequence, it is an inexcusable defect, •or as I may say unpardonable ovasighL 6S To conclude, whosoever •clcsireth to have perfect information and knowledge of King Fran' cis the first, and of the things hapncd in his time, let him addresse •himsdfe elsewhere.
It moderarrixqJ appetiteis • QEocirca rte Roman type of Nicolas Jenson, Venice, I+75 in her bely, and remayned vyrgyn after the chyldyng. And thenne saide peter to hym Cl. Take that palme of the honCk of oure broder Johan, and Ieye it on the pcple that be blynde, and who that wytle bileue shalle rece:yue his sight ageyne. And they that wylie not byleue shall neuer see. And thc;nne thappostles bare marye vnto the monument, and satte by it, lyke as our lord had commaunded, and at thethyrdde day Jhesu crist cam with a grete multytude of Angels and salewed them and saide pees be with yow.
Nc:vcrthclcss, he credited the Hammer uncials as the: inspiration fur his design. Unfortunately, but few fonts of Friar were cast befOre the fire that in 1939 Uc:stroycd the contents of Goudy's workshop. In addition, there arc two other uncial types seen in contemporary printing. Libra, designed by S. H. de Roos for the Typefoundry Amsterdam in 1939, is probably the most widc:ly used of all uncials. A minuscule ,alphabet with no accompanying set of capitals, Libra gives the: effect of pure: lowercase.
Anatomy of a Typeface by Alexander S. Lawson