By Alexander S. Lawson
To the layman, all printing forms 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 completely with no consideration) are of profound significance, the query of the way letters are shaped, what form they suppose, and the way they've got advanced is still one among passionate and carrying on with concern.
Lawson explores the huge 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 an individual s typographic library. it's, 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 have not begun to be totally investigated and that the creation of the ideal typeface continues to be a objective to be as a lot wanted through current as via destiny style designers. somebody desiring to typographic knowledge should still personal and treasure this vintage.
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Additional resources for Anatomy of a Typeface
Thus, type designers have: had to invent and design italics to go with any roman that appeared between 14-70 and 1500. Benton was among the: first to confront this difficulty, the: early private-press printers having ignored it by employing roman alone. He elected to create a cursive: form that he believed to be in the spirit of the roman. Other type designers, by contrast and as will be discussed later, have: preferred an italic with a strictly historic relationship to the upright form. This has resulted in the italics called chancery, based on Renaissance calligraphic sources, in which the letters arc narrow and spiky.
Finally there is Goudy Thirty, so named to represent the final Goudy type (the figure -36- on newspaper copy designates the end of a story). ' Goudy accepted the commission, although even at the age of 76 he was in no hurry to do a 'last' type. During the next few years Coudy worked up his ideas and by 194-5 he had delivered his drawings to the Lanston office in Philadelphia. His design was for a rotunda, or southern gothic, with romanized capitals, such as in Koch's Jessen but lacking the 'gothic' weight.
And Heman, and Jeduthun the king's seer; and the porters waired at ew:ry gate; they might not depart from their service; for their brethren rhe Levites prepared for them. So all the service of the Lord was prepared the same day, to keef> the passover, and to offer burnt offerings upon the altar of the Lord, aa:ordmg to the commandment of king Josiah. And the children of Israel dut were present kept the passover at due rime, and the feast of unleaw:ned bread seven days. And there was no passover like to that, kept in lsrad from the days of Samuel the prophet; neither did aU the kings of Israel keep such a passover as Josiah kept, and the priests, and the Levites, and all Judah and Israel that were present.
Anatomy of a Typeface by Alexander S. Lawson