Typography Papers 9
The latest issue in the series of Typography Papers examines the history of Romanesque type. Type designer Gerard Unger opens the issue with an illustrated article on Romanesque letters. A further instalment of Eric Kindel pathbreaking history of stencil letters is published in contributions by Fred Smeijers and James Mosley. Also covered is the notion of readability, the role of pictures in dictionaries, and a new form of Arabic type for metal composition. This volume results in a remarkable variety and vitality of typography now. Thanks to Hyphen (London).
179 pages, 22 x 23 cm, softcover, Hyphen (London).
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Typography Papers 9
The latest issue in the series of Typography Papers examines the history of Romanesque type. Type designer Gerard Unger opens the issue with an illustrated article on Romanesque letters. A further instalment of Eric Kindel pathbreaking history of stencil letters is published in contributions by Fred Smeijers and James Mosley. Also covered is the notion of readability, the role of pictures in dictionaries, and a new form of Arabic type for metal composition. This volume results in a remarkable variety and vitality of typography now. Thanks to Hyphen (London).
179 pages, 22 x 23 cm, softcover, Hyphen (London).
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The latest issue in the series of Typography Papers examines the history of Romanesque type. Type designer Gerard Unger opens the issue with an illustrated article on Romanesque letters. A further instalment of Eric Kindel pathbreaking history of stencil letters is published in contributions by Fred Smeijers and James Mosley. Also covered is the notion of readability, the role of pictures in dictionaries, and a new form of Arabic type for metal composition. This volume results in a remarkable variety and vitality of typography now. Thanks to Hyphen (London).
179 pages, 22 x 23 cm, softcover, Hyphen (London).
