By Alexander S. Lawson

To the layman, all printing forms glance a similar. yet for typographers, photograph 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 value, the query of ways letters are shaped, what form they think, and the way they've got advanced is still one in all passionate and carrying on with concern.

Lawson explores the titanic 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 an important addition to the library of somebody s typographic library. it really is, as Lawson states, now not written for the printer confident that there are already too many typefaces, yet fairly 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 creation of definitely the right typeface is still a aim to be as a lot wanted through current as through destiny style designers. a person desiring to typographic knowledge may still personal and treasure this vintage.

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It is a practical type; not very insp~red, perhaps, yet quiet and satisfactory because not attempting too much.... ' At present, Cloister Old Style as a book type has lost ground to some of the later Venetian old styles. But in commercial printing and for advertising display it continues to be popular, particularly in its boldface version encountered daily in the consumer periodicals. For examples of its use in distinguished book making, the reader is urged to examine the work of the San Francisco printer John Henry Nash, who was very fond of the type and employed it frequently.

The italic of Euscbius differs from that of Cloister in that it follows the chancery style. It was drawn by R. Hunter Middleton, who, after Morris Bentof} and Fredenc W. Goudy, has been one of the most prolific American type designers. ): 'Cloister Old Style Ruman was based on a srudy of Nicolas Jenson's long-suffering and as yet unrivalled font, and its italic is of an interesting early form. It is a practical type; not very insp~red, perhaps, yet quiet and satisfactory because not attempting too much....

Nb murec aUe g-iittat go~·bie tt l)et geton bp jm-bu tct bn man btt in l)ettl! ,=':;()!? le~ign ·<[bange Ooister Dlack (ATI') story involvin15 this book, indicative of the whimsical existence of Edwin and Robert Grabhorn: 'Ed had a Stutz car, which he had bought to drive to California, selling his Kelmscott Chaucer to get the money. I bought it from him for S6u0. Bob used some of that money to go to Indiana for a visit. ' 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).

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