This book will be an appreciable source of information
for typography professionals. It deals globally
with every aspects of type design from history to traditional type composition.
In particular, the historical part is very well documented. For specialists
only.
Western typography is still dominated by letterforms
designed in the first hundred years of printing. What were the processes
that lie behind these forms ? This book provides a close-up view of
the work of the sixteenth-century French and Flemish punchcutters. On
the basis both of his own experience in making type and a hard look
at the surviving evidence, Fred Smeijers blows away the antiquarian
dust that now covers the topic. As an introduction to this discussion,
he outlines fundamental issues in letter and type design. The last chapters
consider punchcutting in the light of current technical and social developments.
Counterpunch shows that the old processes echo on, giving lessons for
contemporary practice. The book will appeal to anyone curious about
type and what can be done with letters.
Fundamental factors
1. Why this book?
2. Terminology
3. The three ways of making letters
4. Type: a game of black and white
5. Comparing typefaces
Punchcutting in its contexts
6. Letters and the Italian intellect
7. The place of the punch in type production
8. The punchcutter and the historians
9. Where does the punchcutter come from?
10. The rise and fall of the punchcutter
Punchcutting in the sixteenth century
11. Punching and digging
12. The delighs of steel
13. Fournier and punchcutting
14. How did they really do it?
15. Fixing the image
16. Sequence of design and production
17. One punch a day
18. Where are the counterpunches
19. Hendrik van den Keere and outlines
20. Linearity
Punchcutting and the working of type
21. Does technique influence form?
22. The unconscious eye
To the future
23. Punchcutting in the digital eye
24. Type design and language
25. The limits of roman
26. Opening and changes
+ sources & annexes
To buy
Counterpunch
on
|
or on
|
|