The Fleuron: A Journal of Typography, No. V
The fifth number of The Fleuron, the typography journal edited by Stanley Morison and published in 1926 by the Cambridge University Press and Doubleday Page.
What it is
The fifth number of The Fleuron, the typography journal edited by Stanley Morison and published in 1926 by the Cambridge University Press and Doubleday Page. It carries five long studies. Julius Rodenberg writes on Karl Klingspor, whose Offenbach foundry was the first in Germany to hire artists such as Behrens, Eckmann and Koch to design type. Paul Istel covers the illustrator J. E. Laboureur, and H. V. Marrot the printer William Bulmer. Morison's Towards an Ideal Italic ends in seven theses and the claim that the perfect italic is a slanted roman. Paul Beaujon's source study shows that the Imprimerie Nationale type sold as the original Garamond, and imitated by American Type Founders and both Monotype companies, is Jean Jannon's design of about 1615. Reviews follow, and three specimen insets, printed in Fournier, Lutetia and Granjon by the firms that own them, are bound in.
Why read it now
Two arguments still hold. Beaujon's paper shows how a claim repeated by one writer after another becomes accepted fact. Paul Beaujon was Beatrice Warde's pen name; she went back to dated books and a 1621 specimen and moved the credit from Garamont to Jannon, and type historians still accept that result. Morison's logic on secondary type also holds: emphasis should differ from the body text just enough to be seen, and more than that disturbs the page. His answer, a sloped roman, did not take hold; the Times New Roman he directed in 1932 shipped with a true italic. The Laboureur and Bulmer essays are connoisseur writing with little to use today. The format is the sharper lesson. The insets let readers judge each typeface in print, so the sales case and the review arrive on the same sheet. Use: when you pitch a typeface, a pack or a printed piece, include the real sample, and in Arabic text use a heavier weight for emphasis rather than slanting the letters.
Passages worth keeping
It seems that so far this century has failed to establish one new type face to distinguish its books.
ترى الكاتبة أن القرن العشرين لم يقدم حتى ذلك الوقت حرفًا جديدًا واحدًا يميز كتبه، لذلك تبحث عن الجديد في إحياء الحروف القديمة.
There can be little doubt that this is the design of Jean Jannon, dating from 1615.
الحروف التي اشتهرت باسم غاراموند الأصلي هي في الحقيقة من عمل جان جانون بعد غاراموند بنحو ستين سنة، والدليل من الكتب والعينات المؤرخة.
The perfect italic is therefore a slanted roman.
يرى موريسون أن الحرف المائل يجب أن يكون الحرف القائم نفسه بعد إمالته، حتى يبقى منسجمًا مع حرف النص.
We are bound to respect, not taste as such, but rather instructed taste
الذوق الذي يستحق الاحترام هو الذوق المبني على التعلم والاستدلال، لا مجرد الميل الشخصي.
Briefly, here they are: undistinguished types; undistinguished typography; vile presswork; indifferent paper.
يلخص الكاتب أسباب ضعف الطباعة الإنجليزية قبل باسكرفيل في أربعة: حروف عادية، وتنسيق عادي، وطباعة رديئة، وورق متوسط.
What it teaches best
Read the original archive.org
If this library is useful, leave an email
We send new patterns, ads, and notes when we add them. Name and phone are optional.
You are on the list
We will write when we add more library material.