But never before in the history of typography (designers also love to invoke the history of typography as a pedigree) has its versatility been better displayed than in Robertoĭe Vicq de Cumptich's ''Bembo's Zoo.'' In his first book for children, de Cumptich, a Brazilian-born book jacket designer and an art director at HarperCollins, has created an abecedary of animals But I digress.)īembo has long been one of the most popular typefaces for continuous reading. (Incidentally, typographers, like wine aficionados, frequently use the words ''sublime,'' ''balanced'' and ''robust'' Its weight, balance and color, the cut of its serifs (the little feet that cap and ground the letters) and the relationship of its capital to lowercase charactersĪre sublime and work equally well for text and display settings. In the 1920's by Stanley Morison and christened Bembo. This superb example of an Italian Renaissance letterform was originally derived from ''De Aetna,'' a book by Pietro Bembo about his visit to Mount Etna, made in 1495 by the Venetian printer Aldus Manutius. (and thus restricted to Franklin Gothic, Imperial and Bookman), mine would be Bembo. If I were not the art director of The New York Times Book Review Very graphic designer has at least one favorite typeface that he or she uses ad nauseam. Written and illustrated by Roberto de Vicq de Cumptich. An alphabet book in which animals are made out of letters, all in the same distinctive face.
0 Comments
Leave a Reply. |