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2739Re: Summer reading....

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  • Paul W Romaine
    Jul 3, 2004

      You've made some interesting remarks and I agree with many of them.

      However, I'm not so sure about carving punches and then scanning smoke
      proofs, although Jim Rimmer may have done this. What's the point?
      Harry Carter's son, Matthew, actually apprenticed as a punch-cutter.
      He may be the only digital designer today who has worked hands-on in
      all major typographic format: foundry type, hot metal, photo fonts and
      digital. (I may be wrong about his working in hot metal, and I assume
      his Linotype work was on photo fonts.) Matthew is emphatic about the
      improvement of digital over actual punch-cutting. He points out, as
      Smeijers does, that a single mistake at the end of the day could
      destroy an entire 8 hours' work. Matthew fully agrees with the
      "sculptural" point that Smeijers makes.

      I think the author of the up-coming article did in fact include Harry
      Carter's _Early View_ because it was recently re-issued (Eric Gill,
      too, right?). It's a classic, and a such a relief from American and
      contemporary prose.

      I didn't mention it, but the new edition of John Carter's _ABCs of
      Book Collecting_ has just come out. It's distinctive in this (9th?)
      edition because Nicolas Barker has finally received co-author credit
      on the titlepage. (And I just told Nicolas Barker about an omission
      and a couple errors.) The prose still shines. I especially remember
      Carter's (relatively unchanged) entry on "Condition."

      > And what bully would dare kick sand your way if you're walking
      > swinging a big-ass book like "Printing on the Iron Hand Press"?

      A couple people have pointed this out to me privately. But I still
      remember bringing my copy of the Modern Library edition of Plutarch to
      the Jersey shore as a teenager.... Don't ask why or how!

      All best,
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