By Alexander S. Lawson
To the layman, all printing forms glance a similar. yet for typographers, picture 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 think, and the way they've got developed continues to be one in every of passionate and carrying on with concern.
Lawson explores the huge territory of sorts, 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 publication is a vital addition to the library of an individual s typographic library. it really is, as Lawson states, no longer 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 have not begun to be totally investigated and that the construction of the precise typeface continues to be a objective to be as a lot wanted via current as via destiny sort designers. somebody meaning to typographic knowledge may still personal and treasure this vintage.
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Extra info for Anatomy of a Typeface
Morris has stated, however, that his inspiration stemmed from the types of several Italian printers of the same: period. The cutting of the type: was turned over to the: English punchcutter Edward Prince. er. X>llaboration was not, as Morris remarked, a •servile' copy ofJenson, but one that suited the concept Morris had evolved for the individualized printing he planned to produce. The Golden type and that of Nicolas Jenson are alike only in generalized details; the Golden is noticeably heavier.
As no italic types were made in the firff century ofprinting which would harmonize with the roman type ofJenson, it was necessary in designing this series to follow the shapes of the earlier sixteenth century italics of Aldus ofVenice andcertain French italics ofa third ofa century later. The resulting design is a Yigorous italic that harmonizes excellently with the Cloister Oldstyle and is an admirable series on its own account Goistcr Oldstyle Italic (AFT) this respect Stanley Morison, the English typographic historian, has discussed the lack of bTackers (often called fillets) in all Venetian types before 14-95; he wonders whetheT the craftsmen lacked the proper tools with which to refine serifs.
Being toucht and stung to the quicke with any wrong or offence r~ ccived. should arme himsdfc with reason agaimt this furiously-blind desire of revenge, and in the end. after a great conflict, yedd himselfe master over-it. should doubtlesse doc much more. The first should doc well. the other vt:rtuously; rhe one action might be termed goodnesse, the other venue. For it seemeth that the verie name of vertue presupposeth difficultie and inferreth resistance. and cannot well exercise it selfe without an enemie.
Anatomy of a Typeface by Alexander S. Lawson