The Practice of Typography: A Treatise on the Processes of Type-making, the Point System, the Names, Sizes, Styles and Prices of Plain Printing Types

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Century Company, 1900 - Graphic design (Typography) - 403 pages
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Page 189 - AA BB CC DD EE FF GG HH II JJ KK LL MM aa bb cc dd ee ff gg hh ii • • JJ kk 1 1 mm NN OO PP QQ RR SS TT UU vv ww XX YY ZZ nn 0 O PP qq rr ss tt uu VV ww XX yy ZZ
Page 94 - Archbishop Parker, in a letter to Lord Burleigh, dated December 13, 1572, writes: "To the better accomplishment of this worke and other that shall followe, I have spoken to Daie the printer to cast a new Italian letter, which he is doinge, and it will cost him xl marks ; and loth he and other
Page 329 - books ? How much do you think we spend altogether on our libraries, public or private, as compared with what we spend on
Page 241 - The book-printing of the present day is disgraced by a mixture of fat, lean, and heterogeneous types, which to the eye of taste is truly disgusting; and it may perhaps be said with truth that a much greater improvement has taken place in the printing of handbills than of books.
Page 233 - Gros-texte, Gros-canon, fastidieuse liste De vains noms qu'ont portés tant de types divers, Et dont le seul récit attristerait mes vers. Noms qui de leur grosseur et de leur différence N'ont pu donner encore aucune connaissance, II sut les transformer en d'autres plus heureux Qui marquent clairement tant
Page 262 - INTRODUCTION TO LOGOGRAPHY, or the Art of Arranging and Composing for Printing with Words Intire, their Radices and Terminations, instead of Single Letters.
Page 65 - of darkness. It was called the Pie because it was written in letters of black and red, as the Friars de Pica were so named from their parti-coloured raiment black and
Page 95 - no printing house, neither beare any charge of letter, or other furniture, but onlie pay for the workmanship ... so that the artificer printer, growing every Daye more and more unable to provide letter and other furniture
Page 323 - ANTIQUE differs from roman in the boldness of its lines: stem, serif, and so-called hair-line are always of greater thickness. The general effect of a composition in this style is that of blackness and squareness.

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