![]() Read a limited preview of Anatomy of a Typeface at Google Books. ![]() Printed by Maple-Vail Book Manufacturing Group, Binghamton, New York, on Glatfelter Offset Smooth Eggshell. The italic is particuarly feliticous and reaches back to the feeling of the chancery style, from which Claude Garamond’s italic departed. A type of solid weight, it possesses an authentic sparkle that is lacking in the current Garamonds. Based on the type created by Robert Granjon in the sixteenth century, Galliard is the first of its genre to be designed exclusively for phototypesetting. It is, as Lawson states, “not written for the printer convinced that there are already too many typefaces, but rather for that curious part of the population that believes the opposite that the subtleties of refinement as applies to roman and cursive letters have yet to be fully investigated and that the production of the perfect typeface remains a goal to be as much desired by present as by future type designers.” Anyone aspiring to typographic wisdom should own and treasure this classic.Īnatomy of a Typeface was set in Galliard, a typeface designed by Matthew Carter and introduced in 1978 by the Mergenthaler Linotype Company. Written for the layman but containing exhaustive research, drawings and synopses of typefaces, this book is an essential addition to the library of anyone’s typographic library. Lawson explores the vast territory of types, their development and uses, their antecedents and offspring, with precision, insight, and clarity. But for typographers, graphic artists and others of that lunatic fringe who believe that the letters we look at daily (and take entirely for granted) are of profound importance, the question of how letters are formed, what shape they assume, and how they have evolved remains one of passionate and continuing concern. To the layman, all printing types look the same. Subsequently published in Great Britain by Hamish Hamilton Ltd. We recommend exploring the interactive in full-screen mode click the blue button at the top right.Publisher: Boston : David R. Trust me, we can talk about Sabon for hours. Tschichold is hailed as one of the greatest book designers and typographers in history.Ĭontact us with your questions about design, fonts, typography, or creating interactives. Since this is a typography post, a little more background on Sabon: this font was designed in the 1960s by Jan Tschichold, who based it on Garamond, a 16 th-century French, old style roman font. It’s one of my favorite serif typefaces because its beautiful, classic look makes reading easier. Sabon is also a popular choice in book publishing. We built this guide in Ceros, a content platform we use here at Leff for creating interactive online designs and animated elements, and we set it in the Sabon font. You’ve seen these letters, but you probably aren’t familiar with their proper terms and many distinct parts of letterforms. Strong typography skills are crucial for designers, who must consider its many aspects, including typefaces and font families their sizes and weights spacing between letters, lines, and words and the alignment, or justification, of blocks of text.įor this post, my colleague Justin and I collaborated on designing an interactive to make exploring the anatomy of letters informative, visually appealing, and fun. As such, typography is about both art and function. Typography is the practice of positioning written words so that the text is both legible and pleasing to the eye of the reader.
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