By Jan Tschicold
ISBN-10: 0853316236
ISBN-13: 9780853316237
The shape of the ebook deals the harvest
of a lifetime's devotion to the artwork of
typography. Its writer, Jan Tschichold,
influenced the process superb publication layout for
much of the 20th century, and his kind is
now universal via a lot of the Englishspeaking
world.
The topics of Tschichold's essays are wideranging
and comprise each attainable point of
book design:
—What is intended by means of solid flavor, concord of the
elements, symmetrical and asymmetrical
typography
—Architectural proportions of the ideal page
—The artwork of integrating representation and text
—Legibility and different effective issues of typeface
—Sifting the culture to tackle the good
typographical parts from the bad;
—The artwork and technological know-how of combining typefaces and
developing a fit name web page.
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Extra resources for The Form of the Book
Sample text
In itself, a symmetrical arrangement is neither the mark of a particular style nor the expression of society, but rather a shape that grew almost naturally, a form that has been around at all times and in the most diverse societies. It is a visible effort toward order, toward a center; that is all it attests to. What is it that causes so many symmetrical and quasisymmetrical shapes to appear beautiful to our eyes? Empty, a Rococo park, with its strict regularity, is unbearably stilted and dreary.
Clearly, this method is richer and more useful than a THE IMPORTANCE OF TRADITION system that abandons all centering and tries to emphasize headings with semibold letters. The typography of old books is a precious legacy, well worthy of continuation. It would be both impertinent and senseless to alter drastically the form of the European book. What has proved practical and correct over centuries, like the quad indent — should this be displaced by a so-called < experimental typography >? Only indisputable improvements would make sense.
First, the typefaces used became pointed and thin; next came a deliberate broadening of the body, reducing its compactness. Later the paper was smoothed to such a degree that the fibres and thus the durability of the book began to suffer. Then came the attempts at reform by William Morris and his imitators in England, and finally there appeared the German script artists THE IMPORTANCE OF TRADITION of the first three decades of our century, whose new typefaces are now largely forgotten. Interesting as they may be for the historian and collector, and notwithstanding the fact that at the time here and there something valid, even something noteworthy, was created, all these experiments have only one reason: discontent with what existed.
The Form of the Book by Jan Tschicold
by Kevin
4.2