He was originally Johannes Tzschichhold, but for a while used Iwan; finally it was Jan, and he dropped two letters from his surname. Eight consonants would still seem to have been more than enough for only two vowels! German, later Swiss citizen. Born Johannes Tzschichhold 2 April in Leipzig, his father a sign painter and lettering artist.
This book does not mention TeX on any of its two hundred pages. However, I think publication of the review in the pages of TUGboat is justified.
Thus discussions about the art of the book are relevant for TUG publications, and we will continue reviewing books about publishing, typography and typesetting.
This collection of essays by Jerry Kelly is a good example of them. Of course, the fact that the last chapter in the book is written about the Wizard of Fonts, permanent honorary board member of TUG, Hermann Zapf, only adds to the allure of this book for TeX users.
The last century saw many quick changes in the technology of book making. At its beginning, most typographers used letterpress. Hot metal machines, phototypesetting, offset printing and other inventions came and went, to be supplanted today by digital typography.
Book making was deeply influenced by these changes. The tumultuous history of society and art in 20th century was another source of influence for the old art of typography. Thus writing about book making in this period is a very difficult—but a very interesting—task.
Jerry Kelly approaches his subject with a biographical method. His book is a collection of short essays about the leading typographers of the last century: Of course, the chosen format does not allow the author to do a deep analysis of the life and art of his subjects, but the book features a good bibliography section where a reader can find materials for further reading.
Even these short bios, however, can lead to interesting thoughts about the way the works of the masters reflected their lives and the society around them.
For example, Kelly says that the Great Depression disrupted the fine printing business model, and the typographers tried to cope with this. This is an interesting story—for example, how much was the success of the famous Nonesuch Press caused by their large inventory of titles and the novel ways to lower the cost?
Again, it is only a part of the story. However, when these regimes came to the power, both they and the artists became disappointed in each other. As seen from these two examples, Jerry Kelly just mentions such topics, and leaves a more detailed discussion for other books.
However, the fact that his essays might spark thoughts about the evolution of book arts speaks about the quality of his book. Of course, tastes differ, and some readers may suggest other lists of influential typographers. While the essays themselves are rather short but interestingthe illustrations are superb.
The author complains that Unfortunately reproductions, no matter how carefully produced, can only partially convey the effect of a finely produced book: Nevertheless his illustrations are a great boon for many of us who cannot visit all the various museums and libraries where the gems of the typographic art are kept—or peruse them at will.
The book contains full page plates and 12 smaller illustrations in the Introduction, plus portraits of all the subjects of his essays. One can spend hours just looking at these illustrations. They are carefully chosen and reproduced with great care.
Of course a book about typographic art should in itself be an example of typographic art. This book is tastefully designed and produced. It is typeset in Aldus and carefully bound.
Building on Rosarivo's work, contemporary experts in book design such as Jan Tschichold and Richard Hendel assert as well that the page proportion of the golden section () The form of the book: essays on the morality of good design. Point Roberts, WA: Hartley & Marks. short essays on the finer points of book design Jan Tschichold [pronounced ‘Chick-old’] is probably best known in the UK for his work in designing Penguin paperbacks in the late s. He was a German refugee who had made his mark as a radical modernist in . The Form of the Book: Essays on the Morality of Good Design [Jan Tschichold, Robert Bringhurst, Hajo Hadeler] on ashio-midori.com *FREE* shipping on qualifying offers. First edition in English, translated from the German first edition of by Hajo Hadeler. This edition contains an introduction by Robert Bringhurst. Illustrated. Minor wear along /5(6).
It is a pleasure to open and read. My only peeve is the way paragraphs are separated: To tell the truth, though, even he conceded that it might be acceptable if the compositor takes care to make the last lines of the paragraphs short enough to signal the end to the reader—which is the case for this book.
This book is a wealth of useful reading for a student of typographic art or anybody interested in the history of publishing. It is a beautiful book which will be a good item for a book collector. For a lavishly illustrated and lovingly published book it is relatively inexpensive and definitely worth buying.
They can be browsed at http: Bauhaus, Modernism and the Illustrated Book. Illustrations by Duane Bibby. The Form of the Book.Books. B ecause this website is about typographic inspiration, we couldn't have forgotten a book-related page.
For your pleasure here is a list of interesting typo-books! U&lc; John D. Berry; more details; The form of the book - Essays on the Morality of Good Design. Building on Rosarivo's work, contemporary experts in book design such as Jan Tschichold and Richard Hendel assert as well that the page proportion of the golden section () The form of the book: essays on the morality of good design.
Point Roberts, WA: Hartley & Marks. The canons of page construction are a set of principles in the field of book design used to describe the ways that page proportions, 1 2 3 Tschichold, Jan, The Form of the Book. p, Hartley & Marks (), essays on the morality of good design.
Point Roberts, WA: . Typographic Design: Form and Communication by Rob Carter, Ben Day, Philip B. Meggs Manuale Typographicum by Hermann Zapf The Form of the Book: Essays on the Morality of Good Design by Jan Tschichold.
Unless you're German (like me), indentation is a total must, even for two-liners - according to German typography authority Jan Tschichold: "The beginnings of paragraphs must be indented.
Paragraphs without indent (unfortunately the rule in Germany, and only there) are a . The Form of the Book: Essays on the Morality of Good Design (Classic Typography Series) lit free Author: Jan Tschichold and Hajo Hadeler Saints Row Signature Series Guide (Bradygames Signature) (Bradygames Signature Guides) lit.