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quer auer gala quer auer gala quer auer gala quer auer gala 13 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
pagos pagos pagos pagos Sans Serif and Egyptian letters with the a and g seem more decorative than the same letters with a correct a and g, because they contain more circular openings. The frequent repetition of the circular element makes a line of these letters decorative than that of other faces. But the decorative value is achieved at the expense of readability, just as the Textur with its distinct fracture of all details, results in a band of lettering that is highly decorative but hard to read. I therefore prefer the sans serif a and g designed by Eric Gill which derives from the classic form of the oldstyle. Gill’s emulation of oldstyle forms is also evident in his improved articulation of the characters b, j, s, t, u and J, Q, S, and G. The capitals are borrowed from the Roman inscriptions and the endings of C, G, J and S are uniform as in the Roman letters. 14
Page 1 and 2: T Y P E SPECI— MEN BOOK NARRATIVE
Page 3 and 4: N T Aa Aa Aa 29 DESIGNER: JOHN BASK
Page 5 and 6: N T 71 Aa AVENIR DESIGNER: ADRIAN F
Page 7 and 8: y Ilene Strizver OLD STYLE 02
Page 9 and 10: HE OLD ETTERING ASTER OLLOWED THE U
Page 11 and 12: m brachium brachium The upper line
Page 13 and 14: unworthy Satisfactory unworthy Unsa
Page 15 and 16: pq pq pagos pagos pagos Lower case
Page 17: A beautifully letter must naturally
Page 21 and 22: allegory allegory Descenders of cor
Page 23 and 24: OLD STYLE 18
Page 25 and 26: Aa Caslon Regular 10pt/16pt The Eng
Page 27 and 28: garamond OLD STYLE 22
Page 29 and 30: Aa Garamond Regular 14pt/18pt Aa Ga
Page 31 and 32: hoefler text OLD STYLE 26
Page 33 and 34: Aa Hoefler Text Regular 9pt/14pt Ho
Page 35 and 36: ville OLD STYLE 30
Page 37 and 38: Aa Baskerville Regular 9pt/13pt In
Page 39 and 40: perpetua OLD STYLE 34
Page 41 and 42: v Ww Xx Yy Zz Aa Perpetua Regular 9
Page 43 and 44: abcdefghijklmnopqrstuvwxyzOLD STYLE
Page 45 and 46: 55 Rom 56 Italic 75 Bold 76 Bold TR
Page 49 and 50: Aa Bodoni Book 24pt/28pt Aa Bodoni
Page 53 and 54: The strong clear forms of this alph
Page 55 and 56: monotype modern OLD STYLE 50
Page 57 and 58: Aa Monotype Modern Condensed 13pt/1
Page 59 and 60: don OLD STYLE 54
Page 61 and 62: t was named fter the Clarendon ress
Page 63 and 64: a OLD STYLE 58
Page 65 and 66: 35 Thin 45 Light 55 Roma 65 Bold 75
Page 67 and 68: is OLD STYLE 62
Page 69 and 70:
Aa of the geometric basis of its fo
Page 71 and 72:
lubalin graph OLD STYLE 66
Page 73 and 74:
F HIJ PQRS YZ OLD STYLE 68
Page 75 and 76:
Aa Lubalin Graph Extra Light 8pt/14
Page 77 and 78:
OLD STYLE 72
Page 79 and 80:
35 Light 45 Book 55 Roma 65 Medi 85
Page 81 and 82:
century gothic OLD STYLE 76
Page 83 and 84:
Aa Century Gothic Regular 14pt/18pt
Page 85 and 86:
futura OLD STYLE 80
Page 87 and 88:
Aa Futura Light Condensed 9pt/13pt
Page 89 and 90:
Aa Futura Light 9pt/13pt Aa Futura
Page 91 and 92:
hic OLD STYLE 86
Page 93 and 94:
ABCDEFGHI JKLMNOPQR STUVWXYZ abcdef
Page 95 and 96:
izver 90
Page 97 and 98:
FONT VS. TYPEFACE Many people who u
Page 99 and 100:
a B CHARACTER VS. GLYPH A character
Page 101 and 102:
nz Grotesk is very legible. Example
Page 103 and 104:
L O PAPER ACCENT OPAQUE DIGITAL TEX
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