Baskerville typeface part 1

Transcription

A
TYPE
FACE
FOR
I N T E R T Y P E
DUPLEXED
WITH
OF
YOUR
LASTING
LINE
UTILITY
COMPOSING
MACHINES
Baskerviile
I TA L I C
and
small
capitals
and
with
BASKERVILLE
DOUBLE
LETTER
BOLD
M AT R I C E S
FOURTEEN POINT TJiree point leaded
Consideration of ease of reading is so essential in the planning of printed matter
that every principle helping to achieve comfort in the assimilation of the message
conveyed by words should always be in the forefront of the typographer's mind.
On what does ease of reading depend? On the simpleness of the type design, on
the length of the type lines and on their leading, on the spacing of words, and on
a principle either misunderstood or sadly ignored: that of appropriate choice of
T W E LV E
POINT
Consideration of ease of reading is so essen
tial in the planning of printed matter that
every principle helping to achieve comfort in
the assimilation of the message conveyed by
words should always be in the forefront of
the typographer's mind. On what does ease
of reading depend ? On the simpleness of the
type design, on the length of the type lines
and on their leading, on the spacing of words,
and on a principle either misunderstood or
sadly ignored: that of appropriate choice of
type face for the paper on which it is to be
printed. Many type faces appropriate for the
moderate copy of advertisements are inap
propriate for continuous reading in the book
or magazine page: many type faces readable
in the larger text sizes lose their clarity in the
smaller sizes. Wise choices for small text are,
therefore, type faces of unobtrusive character
and type faces of large x-height whose maxi
mum face-to-body size aids readability. Sim
pleness of type design is as much to be desired
as sheer beauty of type character, though
happily the two virtues often go hand in
hand. Consider also the spacing of words.
For fount details and copy fitting table, see back page
INTERTYPE
ALSO
RUN
ON
WIDE
OTHER
TOOTH
LINE
M AT R I C E S
COMPOSING
MACHINES
ELEVEN
POINT
Consideration of ease of reading is so essential in the plan
ning of printed matter that every principle helping to
achieve comfort in the assimilation of the message con
veyed by words should always be in the forefront of the
typographer's mind. On what docs case of reading de
pend? On the simpleness of the type design, on the length
of the type lines and on their leading, on the spacing of
words, and on a principle either misunderstood or sadly
ignored: that of appropriate choice of type face for the
1NTERTY
FOR
PE
ECONOMICAL
DIRECT
KEYBOARD
C O M P O S I T I O N
Baskerville
paper on which it is to be printed. Many type faces ap
propriate for the moderate copy of advertisements arc
inappropriate for continuous reading in the book or
magazine page; many type faces readable in the larger
text sizes lose their clarity in the smaller sizes. Wise
choices for small text are, therefore, type faces of unob
trusive character and type faces of large x-height whose
maximum face-to-body size aids readability. Simpleness
of type design is as much to be desired as sheer beauty of
type character, though happily the two virtues often go
TEN
hand in hand.
Consider also the spacing of words. Wide spacing causes
the appearance of disintegration of the type panel and
spreads the copy to occupy more space than it needs; ex
cessively close spacing causes the words to run into one
another and detracts the reader's thought from the ideas
presented by the words. Most typographers agree that a
thick or middle space is sufficient between words set in
lower case—even in display types—and an en space
between words in capital letters. As a generalisation that
POINT
Consideration of ease of reading is so
essential in the planning of printed
matter that every principle helping to
achieve comfort in the assimilation of
the message conveyed by words should
always be in the forefront of the typog
rapher's mind. On what does ease of
reading depend? On the simpleness of
the type design, on the length of the
type lines and on their leading, on tlic
spacing of words, and on a principle
either misunderstood or sadly ignored:
that of appropriate choice of type face
for the paper on which it is to be prin
ted, Many type faces appropriate for
Long dcsccnders, requiring one point
laq;cr body, can be supplied to order
When ordering matrices please state the point
size and the fount number of the face required
and the model of machine on which the
matrices are to run
the moderate copy of advertisements
are inappropriate for continuous reading in the book or
magazine page; many type faces readable in the larger text
sizes lose tlieir clarity in tlie smaller sizes. Wise choices for
small text are, therefore, type faces of unobtrusive charactcr
and type faces of large x-height whose maximum face-tobody size aids readability. Simpleness of type design is as
much to be desired as sheer beauty of type diaracteti though
happily the two virtues often go hand in hand.
Consider also the spacing of words. Wide spacing causes
the appcarance of disintegration of the type panel and
spreads the copy to occupy more space than it needs: exces
sively close spacing causes the words to run into one another
and detracts the readers thought from the ideas pre
sented by the words. Most typographers agree that a
lower case—even in display types—and an cn space
will do very well, but shall we consider the matter more
closely? The expanded and large x-height type faces call
TEN
POINT
ISLAMIC ART.—RAYMOND (A. M.) L'ART ISLAMIQUE EN ORIENT, Vieilles Faiences Turques^
Vitraux a Yeni Cheir, Types de Fortes, Facades, Types
de Balustrades, etc,, with 100 coloured plates illustrating
numerous fine specimens of Islamic ornament. Scarce,
2 parts in 1, sm. foL, hf. mor. £12 12s 1923
I TA L I A N PA I N T I N G S A N D D R A W I N G S AT B U R
LINGTON HOUSE, Catalogue of the Exhibition of
Italian Art held in the Burlington House in 1930,
edited by Lord Balniel and Kenneth Cl/Vrk, with 252
Plates of Fine Paintings, Original Drawings, &c., by
Pisanello, Bellini, Masaccio, Franccsca, Crivclli, Tura,
Titian, Botticelli, Tintoretto, Ganaletto, Guardi, Bellotto, Longhi, &c., from famous public and private
collections, 2 vols., 4to, cl. £10 10s 1931
EIGHT
POINT
IVORIES.—MASKELL (A.) HISTORY OF IVORIES. Early
Christian Ivories, Pastoral Staves, Liturgical Combs, Byzantine
Ivories, Forgeries, etc., with frontispiece and 88 plates, roy.
8vo,
cl.
£6
6s
1905
IVORIES.—MOLINIER (E.) HISTOIRE GENERALE DES
ARTS APPLIQUES a I'lndustrie, Les Ivoires, with 24 plates
and numerous smaller illustrations in the text of French,
Spanish, Byzantine, etc., ivories, large 4to, wrapper (little
damp
stained).
£5
5s
1885
IVORIES, ENGLISH; by M, H. Lonohurst, including analo
gous materials such as bone and morse ivory. The historical
introduction links up the different schools of carving, the Celtic
and Oriental influences, with comparative information from
illuminated manuscripts and from stone sculpture. The cata
NINE
POINT
Consideration of ease of reading is so essential in the
|)lanning of printed matter that every principle helping
to achieve comfort in the assimilation of the message
conveyed by words should always be in the forefront of
the typographer's mind. On what does ease of reading
depend? On the simpleness of the type design, on the
length of the type lines and on their leading, on the spac
ing of words, and on a principle eidier misunderstood
or sadly ignored: that of appropriate choicc of type face
for the paper on which it is to be printed. Many type
faces appropriate for the moderate copy of advertise
ments are inappropriate for continuous reading in the
book or magazine page: many type faces readable in the
larger text sizes lose their clarity in the smaller sizes.
Wise choices for small text are, therefore, type faces of
unobtrusive character and type faces of large x-height
whose maximum face-to-body size aids readability, Sim
pleness of type design is as much to be desired as sheer
beauty of tyf)e character, though happily the two virtues
often go hand in hand.
Consider also the spacing of words. Wide spacing
logue describes fully the illustrations, which comprise 80 on
causes the appearance of disintegration of the type panel
and spreads the copy to occupy more space than it
£3
1926
needs: excessively close spacing causes the words to run
IVORY WORKERS of the Middle Ages, Their Lives and
Works, by A. M. Cust, with 37 illustrations, cr. 8vo, cl.
into one another and detracts the reader's thought from
the ideas presented by the words. Most typographers
56 plates (6 in colours) and 10 figures in the text, 4to, cl.
15s
10s
6d
1902
JAN STEEN.—DEGENER (F. S.) LIFE AND WORK OF
JAN STEEN, with 40 plates of the most Famous Paintings of
this Eminent Dutch Master, 4to, buckram. £3 10s 1927
Seven alphabet composition on the Intertype F Mixer
shown in both 10 point and 8 point sizes
agree that a thick or middle space is sufficient between
words set in lower case—even in display types—and an
en space between words in capital letters. As a general-
EIGHT
POINT
Consideration of ease of reading is so essential in the plan
ning of printed matter that every principle helping to
achieve comfort in the assimilation of the message con
veyed by words should always be in the forefront of the
SIX
POINT
Consideration of ease uf reading is so essential in the pknning
of printed matter that every principle helping to achieve com
fort In the assimilation ol the message conveyed by words
should always be in (lie forefront of the typographer s mind.
On what docs case of reading depend? On the simpluncsj of
the type design, on the IcnKth of the type lines and on tlieir
leading, on tlie spacing of words, and on a principle either
misunderstood or sadly ignored: that of appropriate choice of
t>pe face for the paper on which it is to be printed. Many type
faces appropriate for the moderate copy of advertisements are
inappropriate for continuous rc.oding m the book or magazine
pa^: many type faces readable in the larger text sizes lose
their clarity in the smaller sizes. Wise choices for small text
arc, therefore, type faces of unobtrusive cliaracter and t>^e
faces of large x-height whose maximum facc-to-bodv size .iids
readabilitv. Simpleness of type design is as much to oe desired
typographer's mind. On what does ease of reading depend?
On the simpleness of the type design, on the length of the
type lines and on their leading, on the spacing of words,
and on a principle either misunderstood or sadly ignored:
that of appropriate choice of type face for the paper on
which it is to be printed. Many type faces appropriate for
the moderate copy of advertisements are inappropriate for
continuous reading in the book or magazine page; many
type faces readable in the larger te.\t sizes lose their clarity
in the smaller sizes. Wise choices for small text are, there
fore, type faces of unobtrusive character and type faces of
large x-height whose maximum face-to-body size aids read
ability. Simpleness of type design is as much to be desired
as sheer beauty of type character, though happily the two
virtues often go hand in hand.
as slicer beauty of type character, thoush happily the two
Consider also the spacing of words. U'ide spacing causes
the appearance of disintegration of the type panel and
appearance of disintegration of the type panel and spreads the
spreads the copy to occupy more space than it needs: ex
cessively close spacing causes the words to run into one
virtues often go hand tn hand.
Consider also the spaeins of words. Wide spacing causes the
copy to occupy more space than it needs: excessively close
thactng causes the tvotds to run into one another and detracts
the reader's thought from the ideas presented by the words.
Most typographers agree that a thick or middle space is suffi
cient between words set in lower case—even in display types
—and .m en space between words in capital letters. As a
generalisation (hat will do very well, but sh.ill we consider
the matter more closelv? The exp.mdcd and l.irge x-height
t^e faccs
call
n slight
increase condensed
in word spacing,
though
a
thick
space
is for
usually
satisfactory;
type faces
and
those of small x-heient agreeably accept the miodle spacc.
Appropriate^
length
typenoline
forofease
of reading
can so
rcaaiiy
be decided
uponofthat
loss
comfort
need result
In
another and detracts the reader's thought from the ideas
presented by the words. Most typographers agree that a
lower case—even in display types—and an en space
will do very well, but shall we consider the matter more
Fount (li'taih of Intertype BmkerviHe
. ABCDEFGHIJKLMNOPQRSTU VWXYZ
abcdefghijklmnopqrstuvwxyz 1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZ
CHARACTER
COUNT
TA B L E
based on close word spacing
Face No. E1003 Figure size *0968 Lower case 168 points Standard alignment
Bold figures reading down indicate
pica measures
Bold figures reading across indicate
FaceNo. E1004 Figure size'0968 Lower case 170 points Standard alignment
point sizes
Light figures indicate average number
of characters per line
• ABCDEFGHIJKLMNOPQRSTUVWXYZ
6
8
9
10
11
12
1 4
8
27
23
22
20
19
16
14
9
32
27
26
23
22
19
17
10
36
30
29
26
25
22
19
11
40
34
32
29
28
24
21
12
4 4
37
35
32
31
27
23
13
4 8
41
38
35
34
29
25
1 4
52
44
41
38
37
31
27
15
56
47
4 4
41
39
34
29
16
60
51
48
4 4
42
36
31
17
6 4
54
51
47
45
39
33
18
68
57
5 4
50
47
42
35
19
72
61
57
53
50
44
37
20
76
64
60
5 5
53
47
39
21
80
68
63
58
56
49
41
22
84
72
66
61
59
51
43
23
8 8
75
69
64
62
53
45
24
92
78
72
67
64
55
47
25
95
81
75
69
67
5 8
49
26
99
84
78
72
70
60
51
27
103
87
81
75
73
62
53
28
106
90
84
78
76
64
55
29
11 0
9 3
87
8 1
79
67
57
30
11 4
97
90
84
8!
70
59
ABCDEFGHIJKLMNOPQRSTUVWXYZ &.^:CE
ABCDEFGHI JKLMNOPQRSTUVWXYZ
FaceNo. E1915 Figure size *0833 Lower case 147 points Standard alignment
FaccNo.E1932 Figure size *0833 Lower case 150 points Standard alignment
.. . ABCDEFGHIJKLMNOPQRSTUVWXYZ
P abcdefghijklmnopqrstuvwxyz 1234567890
abcdejghijklnuwpqrstuvwxyz 1234567890
Face No, E857 Figure size'0761 Lower case 133 points Standard alignment
.ABCDEFGHIJKLMNOPQRSTUVWXYZ
10 point abcdefghijklmnopqrstuvwxyz 1234567890
AIJCDKFOHIJKLMNOPQU.S'JTJVWXVZ fc/Ea:
A B C D F. F G H I J K L M N O P Q R S T U V W X Y Z
Q
. ABCDEFGHIJKLMNOPQRSTUVWXYZ
y point
AIJCDEFCHIJKLMNOPQRSTUVWXV/ ft/liai
F a c e N o . E 2 7 3 0 F i g u r e s i z e ' 0 6 2 2 L o w e r c a s e 11 2 p o i n t s A l i g n m e n t — 3
ADDITIONAL
IN
CHARACTERS
REGULAR
FOUNTS
F a c e N o . E 2 7 4 0 F i g u r e s i z e * 0 6 2 2 L o w e r c a s e 11 3 p o i n t s A l i g n m e n t ~ 3
fi fl fff fi f fl , . - ; ' : '!?()&£@tbiECE/^:CR
8 point abcdefghijklmnopqrstuvwxyz 1234567890
/
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AUCDEFOHIJKLMNOPQRSTOVVVXVZ
FaceNo. E1698 Figure size'0622 Lower case 109 points Standard alignment
.\BCDEFGmjKLMNOPQRSTUVWXVZ
0 DOint
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R P O I I I I K L M N O P Q R S T U V 12345678!)()
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iiii 66o6 uuiiu g ii
$ [ ] r n i ) § _ //
, 3 4^37 13 2 61
••1 • I8 43 8 125 «
Old Style figures supplied to order
ADCDEFGHIIKLMWOPQRSTUV\VXY7.
1234567890 1234567890
ubcdcfghijklmnopqrstuvwxyz 123456789U
Swash capitals supplied to order
abcdefghijklmnopqrstuvwxyz I2345&7890
FaceNo. El 594 Figure size'046 Lower case 89 points Standard alignment
FaceNo.E1595 Figure size *046 Lower case 89 points Standard alignment
J K N T Y Z
The following logotypes supplied on request
f f,f.f-fafefofrfsftfufyfffF,fffF-fFaffeffofrrfrsflruffy ff>ff-f^f^f<^frfiftfufyffffjff'ff~ffaffeffoffTffsffuffy

Baskerville typeface part 1

Transcription

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