Re: [PPLetterpress] More reading...
- At 9:32 AM -0500 2002-11-02, Katie Harper wrote:
>I agree with Kathy: one can't have too many books about typography. WhileAh, be careful with Mr. Dowding.
>on the subject, we mustn't forget Geoffrey Dowding's excellent slim volume,
>Finer Points in the Spacing and Arranging of Type,
His arrangements are actually very poor.
In any case, do as he says, not as he does.
Check out the page on 'optical alignment of margins' and see if you can determine the problem. These are visual problems, and have to be solved visually, not mechanically.
> which I have found doublyWould be interested in your critique of ESs book. Is it too German? Gerry?
>useful, since it applies to those of us who set metal perhaps even more than
>it does for setting digital type for photopolymer. When setting in metal
>nowadays, I hunt to find 5/em spaces for word spacing rather than 3/m, which
>now to me looks like such a large space it could house a family of four...
>As a teacher, I'm always looking for good typography books for students in
>beginning and intermediate stages. I agree with others on Stop Steeling
>Sheep, as much as I might admire Eric Spiekerman as a type designer.
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Peter Fraterdeus -:- peterf@... -:- Galena, Illinois
dezineCafe : www.dezinecafe.com | A*IFonts : www.alphabets.com
Magical Images from the Moon's Garden!
http://www.semiotx.com "Words that work."(tm)
Independent local booksellers on the web.
- I have been teaching typography for a few years now and almost
everyone I talk to who teaches says the same thing: ain't no text
available that's worth much.
However, this year I ordered Willi Kunz's TYPOGRAPHY: MACRO + MICRO
AESTHETICS, published by Niggli/Willi Kunz Books, ISBN 3-7212-0348-8.
It is extremely well organized, has a nice balance of theory and
practice, and it is really beautifully presented, a very nice
package, which is important given its price. (I have 'tested' this
book on a few non-type types and the response has usually been
something along the lines of "oh, so that's what you do", which I
have taken to be a good sign.)
Not only a source of much good typographic information but a very
nice lesson in book design.
Associate Professor, Visual Communications
Washington University, Saint Louis
314.935.8402 x 1 office
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- Peter Fraterdeus wrote:
>Would be interested in your critique of ESs book. Is it too German? Gerry?Hi Peter
Not exactly sure what the German reference means. Spiekermann?
If so, Spiekermann’s well received work for the Unified Berlin Transport
Authority seems to be quite absent from _Stop Stealing Sheep_. I
reviewed the first edition in an old _AbraCadaBrA_ and if I were to
review the second I doubt I would change much.
Essentially, the book panders, a lot. It came out about the same time as
Bringhurst's initially, but where _Elements of Typographic Style_ sought
the high road, _SSS_ definitely went the other way. I'm not sure how
much of this is Adobe's ( the publlisher) fault. I suspect there is
something going on there. Adobe came out with its desperate Wild Type
collection about the time _SSS_ was in manuscript form.
_SSS_ is a 90s reworking of Spiekermann’s earlier book, _Rhyme & Reason:
a typographic novel_ (H. Berthold AG, 1987), which had a bit more
substance and was a bit more accessible, though in retrospect was
indicative of the cuteness and cleverness and entertainment that would
follow. But in terms of information design, _SSS_ is completely lacking.
It is quite difficult to know where you are or to find out what you
need. (The useful information that is provided, can easily be found in
other sources.) Since the book seems to be aimed at the "newly
initiated" to fontography it seems a bit odd that it doesn't provide
useful directional aids for the reader.
The second edition seems to have been revised a tad to include a
contemporary awareness of the impact of the internet, to tone down the
"effort" to be 90s hip (not very successful), and to include more
samples of current fontography, less grunge, and more of what we would
consider today, classic fonts, especially, Adobe fonts.
But even though the authors' apologize for screwing up Goudy's dictum,
he meant "blackletter" not "lowercase," they still miss the significance
of why he said it.