![]() ![]() It's about the typefaces that are (or should be, or should not be) important to today's typographers, and why. Knowledge of history may help the reader in speccing type appropriate to some printing task, but there's very little here that would help in setting up a page of text. Historical information about punchcutting technology and modern type creation tools also explains the changing business relationships between font designers, distributors, and users. That motivates discussions of typefaces that were created to solve specific problems of paper, ink, and press, as well as esthetics. Typeface Anatomy or Anatomy of Typography Each Typeface is comprised of diverse components that recognize it from different Typefaces. It also gives some history of printing and typefounding technology. This is very much a history of the type designers, printers, and other people in the history of type. for pointing out differences in bracketing of the serifs. A few times, though, the samples could have been bigger, e.g. The many examples also show the relationships between members of the same evolutionary tree. Within each chapter, Lawson explores the development of that typeface, from the calligraphy and earlier letterforms that preceded it up through its contemporary appearance and use. The typefaces are arranged in a chronological order, of sorts, but one type face's era may overlap another a large margin. Ascender The part of a lowercase character (b. #Anatomy of a typeface free#What this book does well is present specimens of different typefaces within each family, showing how the letterforms drifted through time, or how they evolved to meet specific demands of paper, ink, and press. Arm/leg An upper or lower (horizontal or diagonal) stroke that is attached on one end and free on the other. That discussion tends to be spotty, though, and the successful reader already knows a few different ways for serifs to differ from each other, for line weight to vary, and lots more. A typeface's chapter analyzes the structural features of the sorts ('glyphs'), noting how the typeface fits into the usual bins labelled 'black letter', or 'modern', etc. The first 30 chapters each present one typeface ('font' for computer folk). 2 Bb a A Cc Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability. ![]() Lawson has created a wonderful, readable historical account. ![]()
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