Blue Pencil no. 48—One Hundred Books Famous in Typography, Part 8 [Brave New World] nos. 86–100

Note: When I began this dissection it was intended as a single post—even as it grew much longer than expected. However, I was forced to break it up into smaller chunks when I ran into an unexplained “failure error” when trying to save the draft one day. Rather than try to break up the dissection into equally sized posts based on word counts, I decided instead to make separate posts based on the divisions used in the Grolier Club exhibition for the one hundred books entries; and on divisions in the catalogue for the material that was not part of the exhibition (e.g. foreword, introduction, Fifty Typefaces Famous in Typography, bibliography, etc.). Note that the divisions used in the exhibition itself (e.g. “The Golden Age” or Looking Back”) were abandoned for the catalogue.

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Brave New World
pp. 230–231
86. Sebastian Carter (b. 1941)
Twentieth Century Type Designers
London: Trefoil, 1987. Quarto.
Provenance: Sebastian Carter.

• Text is c.252 words
• The Grolier Club has 1987 and 1995 editions of the book.
• There are no links. There should be ones to nos. 51, 58, 62, 69, 73, 77, 84, and 99.

“The twentieth century was a remarkably fruitful era for type design.” p. 230

In order to properly cover the 20th century, Kelly should have chosen the 2002 edition of Carter’s book, especially since the first edition was published at the outset of the digital revolution in type. In the 2002 edition Carter covered the following individuals: Frederic W. Goudy, Bruce Rogers, Rudolf Koch, William Addison Dwiggins, Eric Gill, Victor Hammer, Stanley Morison, Hans (Giovanni) Mardersteig, Jan van Krimpen, Georg Trump, Joseph Blumenthal, Robert Hunter Middleton, Jan Tschichold, Berthold Wolpe, Roger Excoffon, Hermann Zapf, Aldo Novarese, Jose Mendoza y Almeida, Adrian Frutiger, Matthew Carter, Gerard Unger, Sumner Stone, Robert Slimbach, and Carol Twombly. He also included chapters on display types and “new types for newer machines”. Although Carter’s profiles are wide-ranging, many important figures are missing. Among them are (in alphabetical order) Ed Benguiat, Morris Fuller Benton, Colin Brignall, Oswald Cooper, Jonathan Hoefler, George W. Jones, Zuzana Licko, Oldrich Menhart, Gerrit Noordzij, Imre Reiner, Paul Renner, S.H. de Roos, F.H.E. Schneidler, Erik Spiekermann, Walter Tiemann, and Jovica Veljovic.

• “Goudy Old Style” should be “Goudy Oldstyle” (no. 58). It was designed by Frederic W. Goudy in 1915 and released by American Type Founders in 1916.
• Centaur (no. 51) was designed by Bruce Rogers in 1914 as a foundry face and redesigned by him for release by the Monotype Corporation in 1929.
• Electra was designed by W.A. Dwiggins (no. 63) between 1930 and 1935. It was released by the Mergenthaler Linotype Company in 1935.
• Times New Roman was issued by the Monotype Corporation in 1932, originally for use by The Times of London. Stanley Morison directed the design while Victor Lardent (1905–1968) is credited with the drawings.
• Trump Mediäval was designed by Georg Trump (no. 77) and released by Schriftgießerei C.E. Weber in 1954.
• Palatino was originally designed by Hermann Zapf (nos. 71 and 71A) in the late 1940s and released by D. Stempel in 1951.
• Univers was designed by Adrian Frutiger between 1954 and 1957 and released by Deberny & Peignot.
• Will Carter (1912–2001), the founder of the Rampant Lions Press, was also a type designer, responsible for Klang (1955), Dartmouth Titling (1961/1969), and with David Kindersley co-creator of Octavian (1961).

Further Reading p. 322
A-Z of Type Designers by Neil Macmillan (London: Laurence King, 2006).
• Suggested readings: Letters of Credit: A View of Type Design by Walter Tracy (Boston: David R. Godine, Publisher, 1986); and Buchdruckschriften im 20. Jahrhundert: Atlas zur Geschichte der Schrift by Philipp Bertheau, Eva-Maria Hanebutt-Benz, Hans Reichardt, and Walter Wilkes (Darmstadt: Technische Hochschule, 1996)

Fifty Typefaces Famous in Typography
p. 304—Helvetica / Max Miedinger 1956 / Haas/Linotype / See no. 86
p. 305—Univers / Adrian Frutiger 1957 / Deberny & Peignot/Monotype / See no. 86
• Max Miedinger is not one of the highlighted designers in the 1987 edition.

Illustration
The cover (designed by Sebastian Carter).
• A page from the book showing one of the designers profiled in it who is not covered elsewhere in the One Hundred Books Famous in Typography catalogue (e.g. Victor Hammer or Roger Excoffon) would have been ideal.

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pp. 232–233
87*. David Pankow, editor
American Proprietary Typefaces
New York: American Printing History Association, 1998. Octavo.
Provenance: David Pankow.

• Set in Monotype Centaur and Bembo.

• Text is c.476 words
• The Grolier Club has one of the 120 limited edition copies “with inserts printed from rare metal American proprietary types.”
• There are links to nos. 43, 44, 51, 58, and 63. A link to no. 69 should have been included.
• Susan Otis Thompson (d. 2008).
• Martin Hutner (b. 1938).
• Herbert H. Johnson (1936–2021).
• Cathleen A. Baker (b. 1945).
• Jerry Kelly (b. 1955).
• Mark Argetsinger (no. 100) (b. 1953).
• Dwight Agner (1940–2002).
• W. Gay Reading, nephew of Victor Hammer and Carolyn Reading Hammer, directed the King Library Press at the University of Kentucky and operated his own private presses.
• John Kristensen.
• Paul Hayden Duensing (1928–2006).
• Joseph Blumenthal (no. 81) (1897–1990).
• Dard Hunter (1883–1966).
• Victor Hammer (1882–1967).
• Greer Allen (1924–2005).
• Robert Doherty (1925–2019).
• Theo Rehak (b. 1947).
• Herbert Horne (1864–1916). (See Rediscovering Herbert Horne: Poet, Architect, Typographer, Art Historian by Ian Fletcher (Greensboro, North Carolina: ELT Press, 1990.)
• Kaatskill (1929) designed by Frederic W. Goudy and released by Lanston Monotype.
• Montallegro was designed by Herbert Horne for The Merrymount Press. Edward Prince was the punchcutter. It was first used in The Life of Michelagnolo Buonarotti by Ascanio Condivi (1905) and then in The Humanists’ Library series.
• Montaigne was designed in 1901 by Bruce Rogers and cut in metal by John Cumming.
• Spiral was designed by Joseph Blumenthal in 1930 during a sabbatical in Germany. Louis Hoell (1860–1935) cut the punches and Bauer cast the type. It was adapted by the Monotype Corporation for its machinery in 1935 and renamed Emerson.
• Samson, often referred to as Samson Uncial, was cut by Victor Hammer. It was his second uncial typeface, first appearing in John Milton’s Samson Agonistes printed in 1931 in Florence by him at his Stamperia del Santuccio.

Further Reading p. 322
American Book Design and William Morris by Susan Otis Thompson (New York and London: R.R. Bowker Company, 1977).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to American Proprietary Typefaces, probably because most of them have not been digitized. However,  ITC New Winchester by Jim Spiece (1999) is a digital version of W.A. Dwiggins’ Winchester which is included in the book.

Illustration
The title page.
• A page from inside the book showing one of the proprietary types under discussion would have been a far better choice (e.g. one of Victor Hammer’s types).

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pp. 234–235
88*. John Randle
A Miscellany of Type
Risbury, Herefordshire: The Whittington Press, 1990. Folio.
Provenance: The Grolier Club.

• Set in Caslon for the main text.

• Text is c.518 words
• There are no links. There should have been ones to nos. 30, 30A, and 83.
• The imprint should be “Andoversford, Gloucestershire: The Whittigton press, 1990{
• “Gerald Lang” should be “Gerald Lange”
• Charles Altschul (b. 1958).
• J. Ben Lieberman (1914–1984).

“Lest there be any doubt about where the Randles’ typographic heart lies, they lay it squarely on the line: ‘… the era of sound typographical design… ended abruptly when hot metal and letterpress gave way to filmsetting and offset litho in the 1970s.…'” p. 234

This view seems to be Kelly’s as well, based on the selections of items chosen for inclusion in One Hundred Books Famous in Typography.

Further Reading p. 322
The Whittington Press: A Bibliography 1982–93 by David Butcher with an introduction and notes by John Randle (Risbury, Herefordshire [England]: The Whittington Press, 1996).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to A Miscellany of Type, though either Big Caslon or ITC Founders Caslon could be (see pp. 284–285).

Illustration
Recto portion of the showing of 96 point Caslon Swash Capitals. (The exhibition showed both halves of the spread, containing the full alphabet.)
• There is no image for this book in the online exhibition.

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pp. 236–237
89. Peter Karow (b. 1940)
Digital Formats for Typefaces
Hamburg: URW Verlag, 1987. Octavo.
[There is no provenance given. The online exhibition lists the lender as Jerry Kelly.]

• Set in Marconi designed by Hermann Zapf for Dr. Rudolf Hell.

• Text is c.336 words
• The Grolier Club has a copy.
• There is a link to no. 84.
• “otline” should be “outline”

“In this book Karow goes into great detail about the Ikarus system for producing digital typefaces.” p 236

Unfortunately, Kelly does not provide a basic summary of the Ikarus system which was superseded by software programs such as Fontographer that relied on handles for manipulating Bezier curves rather than the careful digitization of pre-drawn outlines as splines.

Further Reading p. 322
Fonts and Encoding: From Advanced Typography to Unicode and Everything in Between by Yannis Haralambous (Sebastopol, California: O’Reilly Media, 2007).
• Suggested readings: TEX and METAFONT: New Directions in Typesetting by Donald E. Knuth (Bedford, Massachusetts: Digital Press, 1979); and Printer’s Type in the Twentieth Century: Manufacturing and Design Methods by Richard Southall (London: British Library, 2005).

Fifty Typefaces Famous in Typography
p. 273—Lucida Greek / Kris Holmes & Chuck Bigelow 1985 / Bigelow & Holme / See no. 89
p. 308—Marconi / Hermann Zapf 1970 / Hell / See no. 89

Illustration
The cover.
• The illustration provides Kelly with the opportunity to discuss the irony of calligraphy on the cover of a book about digital type design. Other than that, it is not a very informative illustration. A page from the inside with diagrams/illustrations about the processes of designing type digitally should have been chosen.

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pp. 238–239
90*. Neville Brody (b. 1957), Jon Wozencroft (b. 1958)
FUSE 1
Berlin & London: FSI GmbH, Issue 1, Summer 1991. Octavo.
[There is no provenance given. The online exhibition indicates the lender is Jerry Kelly.]

• Introductory text in two weights of ITC Franklin Gothic.

• Text is c.418 words
• FUSE lasted for eighteen issues (1991–2001). Two more were added when a commemorative boxed set was published in 2012.
• There are no links. There should be ones to nos. 42, 82, 82A, and 84 at the least.
• “Phil Baines” is Phil Baines (b. 1958), graphic designer, typographer, and design educator.
• “Neville Brody” is Neville Brody (b. 1957), graphic designer, art director,  and type designer.
• “Malcolm Garrett” is Malcolm Garrett (b. 1956), graphic designer.
• “Ian Swift” is Ian Swift (b. 1956), graphic designer and artist.
• FontShop was founded in 1989 by Erik Spiekermann, Joan Spiekermann, and Neville Brody. Spiekermann designed the mailer and diskette label for the FUSE series.

“Like earlier radical art movements such as Dada and Futurism, FUSE is articulate in stating its principles. The following is taken from text included in Fuse 1 [sic]….” p. 238

Two-thirds of Kelly’s text is taken up by four excerpts from “The Trouble with Type,” the introductory essay to FUSE 1. Comparing a box of fonts accompanied by posters to Dadaism and Futurism seems ludicrous. More telling is this sentence quoted by Kelly: “The computer will encourage designers to create new ways of using the alphabet—but first we must clear the cobwebs that cover the type that has so quickly been digitized and dumped into the system folder. Otherwise we will be left deeper in a digital nightmare plundering as many hot metal typefaces as possible to compensate for our lack of imagination.” Brody and Wozencroft were striking back at the old line type companies that had simply converted their existing libraries of metal (and photo) types into the new digital formats, rather than commissioning designers to rethink what type should be once it was composed of pixels. (There may also have been a dig at Adobe and its popular digital versions of types by Garamont and Caslon.)

Further Reading p. 322
Radical Graphics / Graphic Radicals by Laurel Harper (San Francisco: Chronicle Books, 1999).
• Suggested readings: FUSE 1–20: From Invention to Antimatter: Twenty Years of FUSE edited by Neville Brody and Jon Wozencroft (Berlin: Taschen Books, 2012); and No More Rules: Graphic Design and Postmodernism by Rick Poynor (New haven, Connecticut: Yale University Press, 2003).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to FUSE, even though the project was a series of experimental font designs. I would suggest either Can You (read me)? by Phil Baines (1991 for FUSE 1) or LushUs by Jeffery Keedy (1994 for FUSE 4).

Illustration
A collage of a 3.5 diskette, the FUSE I text “The Trouble with Type”, and a cardboard mailing sleeve. (The exhibition showed the mailing sleeve, folded text, diskette, and all four posters [three folded and one opened up] as a collage.)
• The exhibition collage was more informative but the catalogue collage is more visually harmonious. The posters printed in lavender, acid green, hot pink, gold, and other colors are not included. The result is a neutering of the visual radicalism of FUSE.
• The online exhibition shows the mailer, diskette, and manifesto.

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pp. 240–241
91. Alexander Lawson (1913–2002)
Anatomy of a Typeface
Boston: David R. Godine, Publisher, 1990. Octavo.
Provenance: David R. Godine.

• Set in ITC Galliard roman and italic designed by Matthew Carter for Mergenthaler Linotype but released by the International Typeface Corporation.

• Text is c.238 words
• The Grolier Club has a copy formerly owned by L.W. Wallis (d. 2008), author of A Concise Chronology of Typesetting Developments 1886–1986, Modern Encyclopaedia of Typefaces 1960–1990, and numerous other books on type and typography.
• There are no links. There should be ones to nos. 6, 7, 16, 23, 30, 30A, 35, 31, 32, 51, 55, 58, 62, 69, 72, and 83.

Anatomy of a Typeface was based on a series of columns that Alexander Lawson wrote for the trade publication Printing Impressions beginning in 1966, in the midst of the upheaval in the type industry caused by phototypesetting systems. It was published in 1990, at the point when the even greater upheaval generated by the digital design, production, and use of type was finally beginning to be accepted as the future of the industry. It is in this context that one should read these comments from his introduction: “Such difficulties [pirated type] have been faced by designers over the past hundred years, but they have been intensified by the mushrooming of equipment manufacturers during the past two decades [1970–1990] and the mechanical ease with which such copying can be done. Once again, this is an industry-wide problem, requiring the most intensive effort on the part of all practitioners to seek reasonable ethical standards. The alternative is clear: a serious decline in the number of new designs and, even more important, a reluctance on the part of designers to attempt the creation of new letter forms.” (p. 9)

Further Reading p. 322
Rookledge’s International Handbook of Type Designers: A Biographical Directory by Ron Eason and Sarah Rookledge; edited by Phil Baines and Gordon Rookledge (Carshalton Beeches, Surrey: Sarema Press (Publishers) Ltd., 1991).
• Suggested readings: Dutch Type by Jan Middendorp (Rotterdam: 010 Publishers, 2004); Schriftanalysen: Untersuchungen zur Geschichte typographischer Schriften by Max Caflisch (St. Gall [Switzerland]: Typotron, 2003), 2 vols.; and A Visual History of Type by Paul McNeil (London: Laurence King, 2017).

Fifty Typefaces Famous in Typography
p. 306—Sabon / Claude Garamond c.1560 / Interpreted by Jan Tschichold / Stempel/Linotype/Monotype / See no. 91

Illustration
The cover. (The exhibition shows pp. 308–309 from the “Clarendon and the Square-Serif Revival” chapter.)
• An internal page would be better than seeing yet another cover. Some suggestions are:  p. 31 with Jessen and Wilhelm Klingsporschrift by Rudolf Koch; p. 36 with Hammer Uncial; p. 87 with a page set in Frederic Warde’s Vicenza type; p. 101 with Monotype Dante; p. 236 with the ATF version of Oxford; p. 325 with Optima; p. 367 with Legende and Lydian Cursive; or a page from the chapter on newspaper types.

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pp. 242–243
92. Robert Bringhurst (b. 1946)
The Elements of Typographic Style
Vancouver, British Columbia and Point Roberts, Washington: Hartley & Marks, 1992. Octavo.
Provenance: Robert Bringhurst.

• The main text is set in Minion roman and italic designed by Robert Slimbach for Adobe; and the captions in Syntax designed by Hans Eduard Meier for Stempel (1969). Syntax is often described as the last commercial metal typeface to be released. In later editions Syntax was replaced by Martin Majoor’s Scala Sans (1993).

• Text is c.350 words
• The Grolier Club owns the first edition (1992).
• There are no links. There should be ones to nos. 19, 21, 26, 37, 59, 67, 70, 75, 93, and 100.

“The book filled a gaping void, and was an instant success….” p. 242

Kelly does a good job in summarizing the contents of The Elements of Typographic Style and in attributing much of its success to Bringhurst’s writing style. However he does not place the book in context beyond correctly noting that it “filled a gaping void”. Prior to the publication of The Elements of Typographic Style, there were two basic groups of books on typography (in English) available to American designers and design students: 1. older books written in the era when metal type was still dominant (e.g. Design with Type by Carl Dair [1952, 1967], Finer Points in the Spacing & Arrangement of Type by Geoffrey Dowding [1954, 1966], Typography: A Manual of Design by Emil Ruder [1967], Basic Typography by John R. Biggs [1968], and Designing with Type: A Basic Course in Typography by James Craig [1971]); and 2. newer books that tried to explain the new world of Desktop Publishing (DTP) to designers, design students, and the general populace of personal computer users (e.g. Typefaces for Desktop Publishing: A User Guide by Alison Black [1990], The Mac Is Not a Typewriter: A Style Manual for Creating Professional-Level Type on Your Mac by Robin Williams [1990], Understanding Type for Desktop Publishing by Paul Luna [1992], and The Desktop Style Guide by James Felici [1991]). (There were also a few books published in the 1980s that tried to grapple with the world of phototypesetting such as The Thames & Hudson Manual of Typography by Ruari McLean [1980] and Typographic Design: Form and Communication by Rob Carter, Ben Day, and Philip B. Meggs [1985].) The two books that dominated American design schools were Ruder and Craig (whose third edition, published in 1992, acknowledged digital type). Although Ruder died in 1970, his book is now in its ninth edition (2018) and has been translated into seven languages. Among PC users The Mac Is Not a Typewriter was the runaway choice—the publisher claimed at one point that it had sold more than 300,000 copies! There was no book that explained (in detail) traditional typographic principles while at the same time embracing the reality that typography was now a fully digital practice, involving not only digital fonts but also page layout software such as QuarkXPress and PageMaker (the ancestor of InDesign). This was the void that Bringhurst filled.

(One of the ironies of One Hundred Books Famous in Typography is that there are more widows—including a few truly egregious ones—in the text describing The Elements of Typographic Style than anywhere else in the book.)

Further Reading p. 322
What Is reading For? by Robert Bringhurst (Rochester, New York: RIT Cary Graphic Arts Press, 2011).
• Suggested readings: Detail in typography: Letters, letter-spacing, words, word-spacing, lines, line-spacing, columns by Jost Hochuli; translation by Ruari McLean (Wilmington, Massachusetts: Compugraphic Corporation, 1987); Technische Grundlagen zur Satzherstellung by Hans Rudolf Bosshard (Berne [Switzerland]: Verlag des Bildungsverbandes Schweizerischer Typografen BST, 1980); and Mathematische Grundlagen zur Satzherstellung by Hans Rudolf Bosshard (Berne [Switzerland]: Verlag des Bildungsverbandes Schweizerischer Typografen BST, 1985).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to The Elements of Typographic Style, although Minion (in its many iterations and extensions has continued to be a Bringhurst favorite; see pp. 310–313). Either Syntax or Scala Sans would have been a good addition to the list of famous typefaces.

Illustration
The cover. (The exhibition showed the cover of the first paperback edition with a copy of the hardcover version opened to pp. 134–135 from the chapter on “Shaping the Page” discussing organic and mechanical proportions.)
• The spread shown in the exhibition was a good choice. In fact, any spread from that excellent section of The Elements of Typographic Style would be preferable to the cover.

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pp. 244–245
93. Erik Spiekermann (b. 1947), E.M. Ginger (b. 1948)
Stop Stealing Sheep
Mountain View, California: Adobe Press, 1993. Octavo.
[There is no provenance given. The online exhibition says the lender is Jerry Kelly.]

• Set in Myriad and Minion MM, the former designed by Robert Slimbach and Carol Twombly and the latter by Slimbach alone.

• Text is c.336 words
• Full title: Stop Stealing Sheep & find out how type works
• There are links to nos. 58 and 68. There should be additional links to nos.19, 21, 26, 37, 59, 67, 70, 75, 84, 92, and 100.
• The credits for Erik Spiekermann should also note that he wrote Rhyme and Reason: A Typographical Novel (Berlin: H. Berthold AG, 1987) which provided the casual template for Stop Stealing Sheep.
• The credits for E.M. Ginger should also include: editor of the Adobe originals series of type specimens (see no. 84); editorial director of Octavo, a company that pioneered high quality digital editions of rare books; and founder of 42-line, a digital photography and reproduction service.
• FF Meta (1991).
• ITC Officina (1990) was designed by Spiekermann with Ole Schäfer. It is a superfamily consisting of ITC Officina Serif and ITC Officina Sans.

“…Stop Stealing Sheep is decidedly aimed at the amateur typesetter and beginning students of graphic design. Of course, with the advent of  ‘desktop publishing,’ today just about everyone is a typesetter.” p. 244

(Does Kelly mean “typesetter” or “typographer”?) Even though Stop Stealing Sheep is aimed at the beginning typographer, it is a book that many professionals have found useful and informative.

“The title of the book refers to something said by the American type designer Frederic W. Goudy… when he was shown letterspaced lowercase gothic letters (‘Anyone who would letterspace blackletter would steal sheep.’), but it is more often used when referring to letterspaced roman or italic lowercase letters. The point is: do not do this, it is wrong!” p. 244

Spiekermann and Ginger never say outright that letterspacing lowercase is wrong. They explain the origin of their title on p. 7 and then on p. 119, in a sidebar, they write, “Letters need to be far enough apart to be distinguished from one another, but not so far that they separate into individual, unrelated signs. Mr. Goudy knew what he was taking about.” Stop Stealing Sheep avoids rules about typography and, instead provides the reader with the reasons (backed by visual examples) that such rules have developed in the first place.

N.B. The practice of letterspacing blackletter was common in Germany and German-speaking countries as a means of indicating a word or phrase that was being emphasized in a text. This was done because nearly all blackletter types had no companion for this purpose unlike the relationship between roman and italic that 16th century French printers developed and which we still follow today. For texts set in fraktur German printers often used schwabacher for emphasis before the practice of letterspacing took hold in the 19th century. Goudy was appalled more by the idea of letterspacing any blackletter—whether capitals or lowercase—because it destroyed the even dark color that gave the type style its raison d’être.)

“Most of the illustrations actually showing type are of the ‘what not to do’ variety, so one is relieved to find the occasional good example, such as the monumental majuscule letters incised on the Trajan column (114 A.D.)…. The text is also very casual, which may be just what is needed to bring sophisticated typographic principles to (such as never letterspacing lowercase letters) down to earth for the man (or woman) on the street.” p. 244

Kelly’s tone is snotty and his comments are ignorant. When Stop Stealing Sheep was first published, it was trying to fill the same perceived gap as The Elements of Typographic Style which preceded it by a year. Whereas Bringhurst’s principle goal was to maintain high typographic standards in a type world gone digital, Spiekermann and Ginger wanted to introduce such standards to a digital world unaware of typography. They thus took a casual approach—replete with jokes, odd but apposite photographs and references, and numerous visual and verbal metaphors—to the subject, one that was intended to demolish the scary reputation that typography had at the time. Despite the jokiness, Stop Stealing Sheep is a serious book, full of both excellent typographical advice and information on typefaces, letterforms, and other related topics.

Contrary to Kelly’s assertion, Stop Stealing Sheep—unlike the texts of Jan Tschichold—is not full of “What not to do” (“richtig” and “falsch”) illustrations. In fact, Spiekermann and Ginger take a very open, non-proscriptive approach to typography. They make typography fun without dumbing it down. The book is full of hidden jokes, references, and lessons (e.g. their recreation of the text of the Trajan Column using Adobe Trajan which reads, in part, “SENATVS · POPVLVSQVE · ROMANVS… NERVAE · TRAIANO · PRETTY · LEGIBLE · DACION · MAXIMO · TRIB… DECLARANDVM · VERY · SPACED · OUT…” [see p. 25]).

Stop Stealing Sheep takes a broader view of typography than The Elements of Typographic Style which is focused intently on text typography, especially for books. Both of these books are excellent resources for understanding typography, but even used together they do not fully cover the field. Anyone truly interested in the wide range of typographic situations (from business cards to books to magazines, to advertising to signage) needs additional books such as those by Aaron Burns, Emil Ruder, and Willi Kunz mentioned elsewhere in this post.

Kelly points out that The Elements of Typographic Style has been translated into eleven languages and gone through four editions to indicate its popularity (p. 242), but he ignores the fact that Stop Stealing Sheep has been translated into at least six other languages and has also gone into four editions. (WorldCat lists 47 “editions” of the book which includes all of the different translations of each of the four editions.)

Further Reading p. 323
Faces on the Edge: Type in the Digital Age by Steven Heller and Anne Fink (New York: Van Nostrand Reinhold, 1997).
• Suggested readings: Rhyme and Reason: A Typographical Novel (Berlin: H. Berthold AG, 1987); and Inside Paragraphs: Typographic Fundamentals by Cyrus Highsmith (New York: Princeton Architectural Press, 2012).

Fifty Typefaces Famous in Typography
p. 309—Meta / Erik Spiekermann 1991 / Fontshop [sic] / See no. 93

Illustration
The cover. (The exhibition showed a spread from the book pp. 62–63 “The Real Workhorse”.)
• The spread displayed in the exhibition is much more informative about the tone and style of Stop Stealing Sheep than its cover. Some other suggestions are pp. 25, 33, 38–41 (comparing shoes and boots to typefaces), p. 117 with examples of kerning, or pp. 124–125 (using a highway with cars to explain leading and tracking).

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pp. 246–247
94*. John Dreyfus (1918–2002)
Into Print
Boston: David R. Godine, Publisher, 1994. Octavo.
Provenance: David R. Godine.

• Set in Dante VAL, a digital version of Monotype Dante created by the Stamperia Valdonega for their own use. The original hand-cut Dante was designed by Giovanni Mardersteig.

• Text is c.252 words
• Full title: Into Print: Selected Writings on Printing History, Typography and Book Production
•  The Grolier Club has a copy. The book was designed by John Trevitt and printed by the Stamperia Valdonega on Fedrigoni Arcoprint paper.
• There are links to nos. 51, 59, 67, 73, 76, and 80; but there should also be ones to  nos. 66 and 70.
• “Bert Clarke” is Bert Clarke (1910–1994), typographer. He was a partner in Clarke & Way (with David J. Way) and later the Director of Design and Typography at the Press of A. Colish (where Jerry Kelly got his start as a typographer and book designer).
• “Saul Marks” is Saul Marks (1904–1974) who, in partnership with his wife Lillian, operated The Plantin Press.

Kelly mentions ten items written by Dreyfus of significance, but does not indicate if they are books or articles—or if any of them are reprinted in Into Print. From my perspective, the most important articles in the collection are: “The Baskerville Punches 1750–1950,” “French Type Ornaments during the Eighteenth Century,” “The Doves Press partnership of T.J. Cobden-Sanderson & Emery Walker,” “Italic Quartet: the collaboration between Harry Kessler, Edward Johnston, Emery Walker & Edward Prince,” “Matrix-Making and Type Design at the Monotype Works 1900–1913,” “Giovanni Mardersteig’s Work as a Type Designer,” “Jan Tschichold’s Sabon: the First Harmonized Type,” “Jan van Krimpen 1892–1958,” and “Bruce Rogers and American Typography”.

Further Reading p. 323
Fifty Years of David R. Godine, Publisher by David R. Godine (Boston: David R. Godine, Publisher, forthcoming).
• Suggested reading: Radici della scrittura moderna by James Mosley; edited by Giovanni Lussu (Rome: Stampa Alternativa & Graffiti/Nuovi Equilibri, 2001).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to Into Print. Dante VAL could have been shown.

Illustration
The title page. (The exhibition showed pp. 276–277 as part of Dreyfus’ article on the cancelled 1940 Gutenberg celebration in Cambridge—which Kelly references in no. 76.)
• “Historians of printing used to give an undue amount of importance to the design of title-pages….” Dreyfus (Into Print, p. 266)—Kelly should have heeded Dreyfus’ warning.
• The exhibition spread is much livelier than this bland title page designed by John Trevitt. Some suggested interior pages are p. 41 (with Baskerville ornaments), p. 58 (a photograph of Emery Walker and Cobden-Sanderson), p. 77 (with Gordon Craig illustration for the Cranach Press edition of Hamlet), p. 141 (with diagrams explaining making and casting type), or p. 218 (showing Cancelleresca Bastarda typeface by van Krimpen).

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pp. 248–249
95. Alan Marshall (b. 1949), editor
La Lumitype-Photon: René Higonnet, Louis Moyraud et l’Invention de la Photocomposition Moderne Lyons: Musée de l’imprimerie et de la banque, 1995. Octavo.
[There is no provenance given. The online exhibition says the lender is Jerry Kelly.]

• Set in an unidentified typeface.

• Text is c.336 words
• There is a link to no. 89. There should also be links to nos. 82 and 99, if not also nos. 42, 46, 54, and 84.
• The Rutherford machine was step-and-repeat machine invented to make textures for printing which Harold Horman and Ed Rondthaler adapted for photographic lettering. It became the basis for their company Photo-Lettering Inc., established in 1936. It created display type.
• The Uhertype machine was invented by Edmund Uher (1892–1989) who patented his idea in 1930 but had only managed to build two machines by 1939. Jan Tschichold, though, designed twelve typefaces for it in the early 1930s. (See “The beginnings of modern photo typesetting technology: The Uhertype” by Roger Münch in Gutenberg-Jahrbuch 1997.)

“…but it was only with the Lumitype machine of 1944 that a text composition device became accepted to any extant by industry.” p. 248

That fragment of a sentence is the full extent of what Kelly has to say about the Lumitype-Photon machine! His text ranges from Gutenberg to Linn Boyd Benton to William Morris to the Rutherford machine of Ed Rondthaler and Photo-Lettering (leaving out Harold Horman) to the Uhertype and, finally, to the Linotronic and Monophoto machines. He completely ignores Higonnet (1902–1983) and Moyraud (1914–2010) and the development of their machine which was first successfully demonstrated in 1946 (not 1944). The first book printed using the Photon (the American name for the Lumitype) was The Wonderful World of Insects in 1953 as a demonstration for MIT Press.

Kelly does not explain the basic elements involved in phototypesetting—alphabet carrier (strip, grid, disc), light source, exposure time, escapement, etc.—or the pros and cons of of the technology except to say it was “more economical and less cumbersome than metal.”

Further Reading p. 323
Life with Letters—as they turned photogenic by Edward Rondthaler (New York: Hastings House Publishers, 1981).
• Suggested reading: History of the Phototypesetting Era by Frank Romano (San Luis Obispo, California: The Graphic Communication Institute at Cal Poly, 2014) and Feuilles spécimens des caractères Lumitype DP (Paris: Deberny et Peignot, 1960). The latter includes photocomposition versions of the Univers family.

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to La Lumitype-Photon, though Univers (p. 305) would have been the obvious choice. Another option would have been Méridien, either as originally digitized or as reincarnated as Frutiger Serif by Adrian Frutiger and Akira Kobayashi (2008).

Illustration
The cover.
• Kelly should have chosen an interior page showing the Lumitype machine, its matrix disk, or one of the company’s typefaces.

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pp. 250–251
96. Henry Morris [Henricus de Nova Villa] (1925–2019)
So Long, Hot-metal Men
Newtown, Pennsylvania; Bird & Bull Press, 2007. Quarto.
Provenance: The Grolier Club.

• Set in a variety of metal typefaces owned by the Bird & Bull Press. The title page is set in Trump Medieval roman, italic and bold, all designed by Georg Trump (see no. 77) for Schriftgießerei C.E. Weber.

• Text is c.364 words
• Full title: So Long, Hot–Metal Men: The Comprehensive Bird & Bull Type Specimen Book.
• There are links to nos. 83, 88, and 96A. There could be additional links to nos. 43, 44, 69, and many others.

“Morris writes with a sense of style and humor that belie  his humble origins and scant education: he was an orphan who went to trade school and never attended college.” p. 250

Morris is far from unique in this respect. Among individuals highlighted in One Hundred Books Famous in Typography, those who went to college are very much in the minority. Goudy, Dwiggins, Gill, Morison, van Krimpen, and Zapf are some of those born after 1850 who attended trade or art schools and yet showed an ability to write with style.

Further Reading p. 323
Type, A Visual History of Typefaces and Visual Styles edited by Cees W. de Jong, Alston Purvis and Jan Tholenaar (Cologne: Taschen, 2010). Vol. 2.
• Suggested reading: Letterpress: The Allure of the Handmade by David Jury (Brighton [England]: Rotovision, 2006.

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to So Long, Hot Metal Men, and none would be warranted given the elegiac tone of the book’s title and Kelly’s description of it.

Illustration
The title page. Kelly has changed its vermilion to ox-blood red. (The exhibition displayed a terrific spread—unidentified—of a pair of fake broadsides.)
• The fake broadsides are much livelier visually than the title page.
• The online exhibition shows this title page along with the two illustrations for The Private Typecasters (no. 96A).

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pp. 252—253
96A. Richard Hopkins (b. 1939), editor / Henry Morris (1925-2019)
The Private Typecasters
Newtown, Pennsylvania: Bird & Bull Press, 2005 [sic]. Quarto.
Provenance: The Grolier Club.

• Set in a variety of typefaces.

• Text is c.224 words
• The Private Typecasters was published in 2008, not 2005. (See p. 250.)
• There is a link to no. 43. There should be ones to nos. 44, 87, and 96.
• “Michael R. Anderson” is Michael R. Anderson (1938–2013).
• “Michael Bixler” is Michael Bixler (b. c.1948), co-owner of The Press and Letter Foundry of Michael and Winifred Bixler
• “Dan Carr & Julia Ferrari” are Dan Carr (1951–2012) and Julia Ferrari (b. c.1956) of the Golgonooza Press.
• ” Phillip Driscoll” is Philip Driscoll of the Irish Hills Type Foundry.
• “Dan S. Jones” is Dan S. Jones of the Pygment Press in Canada.
• ” Scott King” is Scott King (1965–2021) of Red Dragonfly Press.
• ” Raymond Stanley,[.] Jr.” is Stan Nelson (b. c.1945) of The Atelier Press and Letterfoundry.
• “Chris Paul” is Chris Paul of the Old North State Press.
• ” Edward Rayher” is Edward Rayher of the Swamp Press.
• ” Jim Rimmer” is Jim Rimmer (1934–2010) of the Pie Tree Press and the Rimmer Type Foundry.
• ” Schuyler Shipley” is Schuyler Shipley of the Skyline Type Foundry.
• “Jim & Franziska Walczak” are Jim Walczak and Franziska Walczak (1934–2019) of the Sycamore Press and Typefoundry.
• “Gregory Jackson Walters” is Greg Walters, collector of all things letterpress and ephemera.

“…Richard Hopkins, the editor of this volume, who has amassed a vast amount of typecasting equipment at this shop in North Carolina.” p. 25

Rich Hopkins’ Hill and Dale Private Press and Typefoundry is located in Terra Alta, West Virginia.

Further Reading p. 323
[There is nothing listed.]
• Suggested reading—Practical Typecasting by Theo Rehak (New Castle, Delaware: Oak Knoll Books, 1993).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to The Private Typecasters, and no good reason for one to be.

Illustrations
The title page overlapping a page with a quotation by Joyce Cary (set in Kennerley by Frederic W. Goudy). (The exhibition displayed a spread [unpaginated] of a specimen from Irish Hills Type Foundry [set in Italian Old Style] and Square Text Press [also set in Italian Old Style].)
• Neither of these pages is visually exciting.

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pp. 254–255
97. Hendrik D.L. Vervliet (1923–2020)
The Paleotypography [sic] of the French Renaissance
Leiden: Brill, 2008. Two volumes. Quarto.
Provenance: The Grolier Club.

• Set in Adobe Garamond by Robert Slimbach whose roman is based on a typeface by Claude Garamont and whose italic is based on one by Robert Granjon.

• Text is c.224 words
• Full title: The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces
• The link above is to a limited view of volume 1.
• There are links to nos. 6 and 56. More importantly, there should also be links to nos. 10, , 12, 14, 15, 16, 17, 18, 24, 66, and 66A.
• “The Paleotypography of the French Renaissance” should be “The Palaeotypography of the French Renaissance”

“…the seventeenth-century types of Jean Jannon were mistakenly thought to be original sixteenth-century Garamond [sic] fonts until an essay by Beatrice Warde… set the record straight.

“Later works by Stanley Morison, Harry Carter and others furthered the study of these types [by the 16th-century French punchcutters], but none were as comprehensive or as in-depth as this collection of thirteen essays by Hendrik D.L. Vervliet….” p. 254

This comes across as a grudging acknowledgement of the scholarly achievements of Vervliet. Kelly makes no mention of his other major books on 16th century type (I have added three of them below), and he fails to fully point out what makes this particular pair of books so important. For one, the thirteen essays he mentions are in volume 1; an additional five essays are in volume 2. More significantly, Kelly name-checks Colines, Garamont (who throughout this book he constantly calls Garamond even though Vervliet concluded that the name should be Garamont), and Granjon while passing over the achievements of Maître Constantin, Antoine Augereau, and Pierre Haultin that Vervliet has uncovered.

Further Reading p. 323
French Renaissance Printing Types: A Conspectus by Hendrik D.L. Vervliet (London: The Bibliographical Society and The Printing Historical Society; New Castle, Delaware: Oak Knoll Press, 2010).
• Suggested readings: Robert Granjon, Letter-cutter, 1513–1590: An Oeuvre-Catalogue by Hendrik D.L. Vervliet (New Castle, Delaware, Oak Koll Press, 2018); Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford: Oxford Bibliographical Society, 1966); and Sixteenth-Century Printing Types of the Low Countries by Hendrik D.L. Vervliet (Amsterdam: Hes & de Graaf Publishers, 1968).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to The Palaeotypography of the French Renaissance, though both Adobe Garamond Premier Pro (pp. 270–271), ITC Galliard (pp. 278–279), and Sabon (p. 306) should have been.

Illustration
The cover. (The exhibition showed the cover of volume II and pp. 114–115 from volume I showing The “Estienne” Two-Line Double Pica Roman.)
• There are plenty of good alternatives to the cover of Vervliet’s book inside volume 1: pp. 155, 157, 160, 174, 179, 182 and more.

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pp. 256–257
98. Steven Heller (b. 1950), Louise Fili (b. 1951)
Typology
San Francisco: Chronicle Books, 1999. Quarto.
Provenance: Presented by the authors to to [sic] the curator [Jerry Kelly].

• The cover and title page are set in a digital version of Kennerley designed by Frederic W. Goudy for publisher Mitchell Kennerley in 1911.

• Text is c.163 words
• The link above is a limited view.
• Full Title: Typology: Type Design from the Victorian Era to the Digital Age
• There are no links. There should be ones to nos. 32, 37, 42, 55, 71, 71A, and 77.

“Typology reproduces examples of advertising display types in use through a period of a century and a half, from poster types of Victorian England to grunge digital fonts of the 1990s. Along the way various movements, such as art nouveau, arts and crafts, De Stijl and Bauhaus, come and go.” p. 256

This is only the second book in One Hundred Books Famous in Typography devoted to display type rather than text type. The other one is Page’s Specimens of Chromatic Wood Type (no. 42). Kelly seems to have thrown this book in to make up for all of the important aspects of type and typography since 1800 that he has neglected. A major problem with Heller and Fili’s book is that it conflates lettering and type. They claim that Typology “is not a formal history of printing types, but rather a visual survey of the rich legacy left to us by type designers for over one hundred years. The purpose of this book is to examine commercial type design—with emphasis on headline or display types—from the pre-Modern to Postmodern eras.…” (pp. 16–17). But many of the items they include are either entirely handlettered or the large text is lettered while the small text is set in type.

Further Reading p. 323
Design Connoisseur: An Eclectic Collection of Imagery and Type by Steven Heller and Louise Fili (New York: Allworth Press, 2000)
• Suggested readings: Nineteenth Century Ornamented Typefaces by Nicolete Gray; with a chapter on Ornamented Types in America by Ray Nash (Berkeley, California and Los Angeles: University of California Press, 1976); The Handy Book of Artistic Printing: A Collection of Letterpress Examples with Specimens of. Type, Ornament, Corner Fills, Borders, Twisters, Wrinklers, and other Freaks of Fancy by Doug Clouse and Angela Voulangas (New York: Princeton Architectural Press, 2009); and Alphabets of Wood: Luigi Melchiori & the history of Italian wood type by James Clough and Chiara Scattolin (Cornuda [Italy]: Tipoteca Italiana, 2015).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to Typology. Since the cover and title page are set in Kennerley, Paul D. Hunt’s LTC Kennerley (2005) would be appropriate.

Illustration
The cover. The design by Louise Fili is closely copied from the cover of the Italian Old Style specimen designed by Bruce Rogers for Lanston Monotype. She has replaced Goudy’s Italian Old Style with his Kennerley type.
• The only thing interesting about the cover is seeing an example of Fili’s magpie design approach. Otherwise, it is not representative of the book’s contents which is dominated by lettering (see the image below) and decorative types intended for advertising purposes.

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pp. 258–259
99. Adrian Frutiger (1928–2015)
Typefaces: The Complete Works [sic]
Edited by Heidrun Osterer & Philipp Stamm. Basel: Birkhäuser, 2009. Folio.
Provenance: The Grolier Club.

• Set in Egyptienne and Avenir, both designed by Adrian Frutiger.

• Text is c.336 words
• The proper title should be Adrian Frutiger—Typefaces: The Complete Works
• The link above is a limited preview.
• There are no links. There should be ones to nos. 58, 62, 73, 77, and 95.
• “Meridien” should be “Méridien”
• “Paris-Roissy airport” should be either “Paris Charles de Gaulle Airport” (its official name) or “Roissy Airport” (its common name).
• “Frutiger Sans” should be “Frutiger”

“…Univers presented a somewhat more rationalized and coherent alternative to the popular Helvetica typeface, released in 1957 by the Haas typefoundry …” p. 258

Frutiger began the design of Univers, based on a student project he had created in early 1950, in the winter of 1953 and the typeface (in a family of twenty-one coordinated weights, widths, and italics) was released by Deberny & Peignot in the spring of 1957. (Twenty members of the family—all but Univers 39—were simultaneously made for the Lumitype machine [no. 95].) Neue Haas Grotesk, the original name of Helvetica before 1960, was begun in November 1956 and the first weights were not completed until the fall of 1957. Thus, the two typefaces were developed without any sense of rivalry, though that occurred after their release, principally outside of Switzerland. (See Adrian Frutiger: The Complete Typefaces edited by Heidrun Osterer and Philip Stamm [Basel, Boston and Berlin: Birkhauser, 2012], pp. 21, and 88–96; and Eduard Hofmann’s notebook chronicling the development of Neue Haas Grotesk reproduced in Helvetica Forever: Story of a Typeface edited by Lars Müller and Victor Malsy [Baden, Switzerland: Lars Müller, 2008.)

“Frutiger designed over fifty typeface families, including some very unusual fonts made under the constraints of demanding technical consideration, such as OCR-A, which most people would recognize as the optical character (OCR) font used for the numbers at the bottom of bank checks.” p. 258

Frutiger designed OCR-B (1968) not OCR-A. Neither appears on checks. That typeface is E13B, a MICR (Magnetic Ink Character Recognition) design.

Further Reading p. 323
Type Sign Symbol by Adrian Frutiger (Zurich: ABC Verlag, 1980).
• Suggested readings: About Alphabets: Some Marginal Notes on Type Design by Hermann Zapf (New York: The Typophiles, 1960); Roger Excoffon et la Fonderie Olive by Sandra Chamaret, Julien Gineste and Sébastien Morlighem (Paris: Ypsilon Éditeur, 2010); and Gerard Unger—Life In Letters by Christopher Burke (Amsterdam: De Buitenkant, 2021).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to this comprehensive survey of Adrian Frutiger;s typefaces, though Univers (p. 305) could have been. Another choice would be Avenir (1988), Frutiger’s take on Futura.

Illustration
p. 152 (an array of gs from the development of Concorde, designed by Frutiger for Sofratype). (The exhibition showed pp. 204–205 (showing Katalog, a typeface developed between 1965 and 1968).
• Neither Concorde nor Katalog are among Frutiger’s major accomplishments as a type designer. Kelly should have chosen a page relating to one of his important typefaces (e.g. pp. 89–90, 104, 106 for Univers).

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pp. 260–261
100. Mark Argetsinger (b. 1953)
A Grammar of Typography
Boston: David R. Godine, Publisher, 2020. Folio.
Provenance: David R. Godine.

• Set in DTL Fleischmann designed by Erhard Kaiser for the Dutch Type Library, based upon the types of Joan Michael Fleischman (see nos. 48, 68, and 68A).

• Text is c.448 words
• Full title: A Grammar of Typography: Classical Book Design in the Digital Age.
• The Grolier Club also has a copy.
• There are no links. There should be ones to nos. 21, 37, 59, 67, 69, 70, 75, 92, and 93.

Kelly itemizes at length the astonishing contents of this comprehensive book, rightly concluding that “Argetsinger’s magnum opus is already destined to become a classic in the field.” But it may be a book more cited than read. It is 511 pages long (with a page size of 8.5 x 12 inches) and weighs approximately five pounds! After owning it for nearly two years, I have yet to read more than a few pages because of its weight and unwieldiness. Despite the many virtues of A Grammar of Typography, it will not supplant either The Elements of Typographic Style (no. 92) or Stop Stealing Sheep (no. 93), both of which exist in light, easily portable paperback editions, as a daily guide to typography. Argetsinger’s book is not only beautifully designed, but it is beautifully produced. It is thus a book destined for the library shelf rather than the studio desk, classroom, or shop floor.

Further Reading p. 323
Fifty Years of David R. Godine, Publisher by David R. Godine (Boston: David R. Godine, Publisher, forthcoming). The published book is actually Godine at Fifty: A Retrospective of Five Decades in the Life of an Independent Publisher by David R. Godine (Boston: David R. Godine, Publisher, 2021).
• Suggested readings: Book Typography: A Designer’s Manual by Michael Mitchell and Susan Wightman (Marlborough, Wiltshire [England]: Libanus Press, 2005); and Typography:
Macro- and Microaesthetics: Fundamentals of typographic design by Willi Kunz (Sulgen [Switzerland]: Niggli, 1998).

Fifty Typefaces Famous in Typography
• There is no digital typeface linked to A Grammar of Typography. A logical choice would be DTL Fleischmann by Erhard Kaiser (1992) since Argetsinger chose it for the book/s text type.

Illustration
The cover.
• Some suggested alternatives to the cover are: pp. 82–83, 120–121, 141, 174–175, 190, 262–263, 420–421, 432–433, or 434.