Professional Documents
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ESSAY
BY
ON
TYPOGRAPHY
ERIC
GILL
C o n te n ts:
Com position o f Tim e & Place
Lettering
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Typography
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Punch-cutting
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81
88
The Instrument
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The Book
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But W h y Lettering ?
119
THE
THEME
The Theme
be alw ays w ith us like the poor. And the tw o
w orlds are n o w absolutely distinct. The imitation
'period w o rk and the im itation handicrafts mer
chants alone are certainly doom ed. Handicrafts
standards are as absurd for m echanised industry
as m achine standards are absurd for the craftsman.
T h e application o f these principles to the making
o f letters and the m aking o f books is the special
business o f this book.
This b ook w as w ritten in 1 9 30, and n ow that a
second and cheaper edition is called for it seems de
sirable to re-write a great part o f it. It w as one o f the
authors ch ief objects to describe tw o w orlds that
o f industrialism and that o f the human w orkm an
& to define their limits. It is one o f the b oo ks ch ief
faults that that object w as but im perfectly remem
bered. It has not been possible to correct this, but the
book has been am ended in m any small particulars
and a chapter added.
f Six years is a considerable time in human life, and
if it be true that the w itty remarks one makes at a
dinner p arty seem peculiarly foolish the next m orn
ing, h o w m uch m ore does the enthusiasm o f 1930
appear foolish in 1936. The tw o w orlds are still
The Theme
w ith us; the industrial w orld continuing in its dia
bolical direction, the hum ane w orld indestructible
by its very nature. But the divorce b etw een them is
even more com plete, and the sphere o f the handi
craftsman even m ore curtailed.
T h e determ ination to have all necessary things
made b y m achinery, & to organise m achine indus
try in such a w a y as to have only a few h ours w o rk
per day is n o w m uch m ore clearly defined than it
w as even six years ago. And printing is one o f the
obviously necessary things, & to do it in any other
w a y than b y m achinery appears m ore and m ore
absurd. Thus one after the other the crafts, w hich
w ere form erly the w ork m an s means to culture, are
being m echanised m ore or less com pletely, & n o w
only such things as musical com position & painting
pictures & giving lectures on the wireless, dem and
the actual responsible skill o f the hum an being w h o
does them. All other w orkm en are released from
any other considerations but econom ic ones. It w as
possible to say these things six years ago; but to-day
m any m ore people are conscious o f their truth. The
newspapers are full o f evidences that people are
beginning to see the issue clearly. The w idespread
propaganda o f financial reform is alone evidence o f
The Theme
a great change in p eo p les minds. Th ey see n o w very
clearly that the old man o f the sea is a financial rather
than a social tyrant.
T h e industrial w o rld m ay be w recked b y its bad
finance and the w ars w h ich bad finance foments,
or, as seems less likely, a brave n ew w orld o f logic
ally organised m achine production m ay be achieved.
In either case hum an com m unications w ill continue,
printing w ill still be called for, & much in this book
m ay still be useful.
i. C O M P O S I T I O N
OF TIME
AND PLACE
Tim e & place must be taken into consideration
in the discussion o f any human affair, and this is
particularly true in an abnorm al tim e like the 20th
century. It is not our business to w rite at length o f
this abnorm ality, but it is necessary at least to de
scribe it, though, as is very often the case, it is m ore
easy to say w h a t it is not than w h a t it is. It is not
sim ply that abnorm ality w h ich is caused b y an e x
cess o f riches am ong the few and the p overty o f
the m any; such an excess on either side does not
necessarily destroy or disturb the essential hum an
ity o f our life. N or is it the case o f a free m inority as
against an enslaved or servile majority. Such a state
m ay be ethically good or bad, but neither the free
nor the slaves are necessarily condem ned to a life
contrary to nature. The abnorm ality o f our time,
that w hich m akes it contrary to nature, is its de
liberate and stated determ ination to m ake the
w orking life o f men & the product o f their w o rk
ing hours m echanically perfect, and to relegate
all the humanities, all that is o f its nature hum ane,
An Essay on Typography
An Essay on Typography
N oth ing w ill stop m en singing or m aking songs,
An Essay on Typography
An Essay on Typography
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i i
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An Essay on Typography
T h e pro
i3
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16
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T hese tw o w orlds
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A ll these things
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2.
LETTERING
Letters are n ot
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Lettering
Lettering
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Lettering
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Lettering
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In the same
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An Essay on Typography
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An Essay on Typography
Lettering
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afctiefgbtjMmnop
(Figure 4: Caslons Black Letter. This type, like that of
Gutenberg, Caxton, &c., was cut in imitation of fifteenth
century northern European handwriting. But though the
original was handwriting it was for the first printers simply
lettering the only lettering with which they were familiar,
book-lettering.)
A B C D E F G H 1 J K L M
N O P Q R S T U V W X Y Z
a b c d e f g b t j k l m n o p
q r s t u v w x y z
(Figure 3: the Subiaco type. This modern version, cut for
the Ashendene Press, London, of the type of Sweynheim
and Pannartz, 1463, shows the change in style caused by
Italian influence.)
not in the North. Germ an printers m oved to the
South. The influence o f Italian letter forms m ay be
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An Essay on Typography
A B C D E F G H I J K L M N
O P Q R S T U V W X Y Z
a b cd efgh ijklm n op q
rstuvwxyz
(Figure 6: Jensons type. This modern version, cut for the
Cranach Press, Weimar, of the type of Nicolas Jenson,
c. 1490, shows the emancipation achieved both from the
gothic of northern Europe and from handwriting generally.
Henceforth the designing of type was primarily the work
of punch-cutters, that is of engravers. Letters were still
reminiscent but no longer an imitation of handwriting.)
T h e m ain w o rk having been done b y the early It
alian printers, the succeeding centuries saw no great
changes in the form s o f Roman typ e letters. Such
Lettering
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ABCDEFGHIJ KLM
NOPQRSTUVWXYZ
abcdefghijklmnopqrstu
vwxyz
Figure 7: Caslons Old Face, 1 734
ABCDEFGHIJKLMN OP
QRSTUVWXYZ
abcdefghijklmnopqrstu
vwxyz
Figure 8: Monotype Bodoni
per & com m erce. For instance, it is said that there
is something peculiarly English about C aslons typ e
(figure 7); and, though there is nothing peculiarly
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Lettering
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ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmnopqrstu
vwxyz
Figure 9: Monotype Baskerville
ABCDEFGHIJKLMN
OPQRSTUVWXY&Z
abcdefghijklmnopqrstu
vwxyz
Figure 1 o: Miller & Richards Old Style
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Lettering
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abcdefghijklmnopqrstuvwxyz
ABrAEZHIKAMNEOnPXTY<I>X^n
apy6e^qeiKXpv^onpostuq)Xipiu
(Figure 11; 1 and 2, Perpetua Roman capitals and lower
case; 3, Perpetua italic; 4, Joanna italic; 3, Caslon Old Face
italic; 6 & 7, Porson Greek capitals & lower-case; 8 & 9,
Perpetua Greek capitals and lower-case.)
by w h a t the Emperor Peter the G reat did in the case
o f Russian w riting. The Russian alphabet is closely
related to the Greek. The form alisation o f Russian
script w as achieved very successfully b y the D utch
typographers em ployed b y Peter the G reat; & the
same thing could be done for Greek.
M an y vari
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W h e th e r in stone, w ood,
paint or m etal
The common problem, yours, mine, everyones.
Is not to fancy what were fair in life
Provided it could be but, finding first
W hat may be, then find how to make it fair
Lettering
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G o od w ill
Lettering
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Lettering
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Figure 16
jo
An Essay on Typography
Figure 1 7
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Figure 1 8
shall w e revolt against the m entally defective.
A final w o rd m ay be said about the influence o f
tools in letter designing. The m ain stream o f letter
ing to-day is undoubtedly the printed sheet or book.
But w hatever m ay be said about the derivation o f
our letters from the chisel-made or pen-made let
ters o f the past, there is no doubt w h atever that
neither the chisel nor the pen has n o w any influ-
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Figure 19
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3. T Y P O G R A P H Y
O n e o f the m ost alluring enthusiasm s that can
occupy the m ind o f the letterer is that o f invent
ing a really logical and consistent alphabet having
a distinct sign for every distinct sound. This is espe
cially the case for English speaking people; for the
letters w e use only inadequately sym bolise the
sounds o f our language. W e need m any n ew letters
and a revaluation o f existing ones. But this enthusi
asm has no practical value for the typographer; w e
must take the alphabets w e have got, and w e m ust
take these alphabets in all essentials as w e have in
herited them.
First o f all, then, w e have the ROM AN ALPHABET
o f CAPITAL letters (upper-case), and second the al
phabet w hich printers call ROM AN LOWER-CASE.
The latter, th o derived from the capitals, is a dis
tinct alphabet. Third w e have the alphabet called
ITALIC, also derived from the capitals but through
different channels. These are the three alphabets
in com m on use for the English people.
A re there no others? It m ight be held th at there
are several; there are, for exam ple, the alphabet
called Black Letter, and that called Lombardic. But
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Typography
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But th o
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Typography
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Typography
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Typography
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Typography
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T h e typ ograp hy o f in
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Typography
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the p erio d w ork, the-man-of-taste-who-is-also-manof- business w ill tend to the im itation handicrafts.
And, in the printing w orld, there are business houses
w h o se reputation is founded on their resuscitations
o f the eighteenth century, & private presses w hose
speed o f output is increased b y machine-setting &
gas engines. These things are m ore deplorable than
b lam ew orthy. Their ch ie f objectionableness lies in
the fact that th ey confuse the issue for the ordinary
uncritical person, and they turn out w o rk w hich is
neither very good nor very bad. Period printing
looks better than the usual vulgar products o f un
restrained comm ercialism, and there is no visible
difference, except to the expert, b etw een machinesetting and hand-setting, or betw een sheets w orked
on a hand press and those turned out on a powerdriven platen.
Typography
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4. P U N C H - C U T T I N G
There are two ways of cutting punches by hand
and by machine.
C utting a punch by hand means cutting on steel,
w ith the appropriate gravers, chisels, or other tools,
an exact m odel o f the letter or other sym bol in the
mind o f the punch-cutter or the designer for w h o m
he is w orking. In addition to the face o f the letter
(i.e. the actual printing surface o f the punch), the
punch-cutter is responsible for the right shaping o f
the punch seen in section. The b evel m ust be right
both from the point o f vie w o f the printing im
pression and the strength and quality o f the typem etal in w h ich the typ e w ill be cast. W ith these
lim itations and considerations in mind, the punchcutter is at liberty to cut letters o f any shape that
pleases him or the designer; and i f the punch-cutter
and the designer are the same person, so m uch the
better. The technical exigencies o f punch-cutting
being understood, the problem s confronting the
punch-cutter are lettering problem s and typ ograp h
ical problem s w h at are good letters, and w h a t
are good kinds o f letters for books, for newspapers,
for advertisements . . . ?
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Punch-Cutting
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Punch-Cutting
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3. O F
PAPER
AND
INK
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Such considera
6 T H E P R O C R U S T E A N BED
It is obvious that, w ith letters o f different w idths
and w ord s o f different lengths, it is not possible to
get a uniform length in all the lines o f w ords on a
page. But by sacrificing even spacing betw een let
ters and w ord s short lines can be made to fill out to
the same length as long ones. W hen the measure,
i.e. the w id th o f a page, is very w id e in proportion
to the size o f type to be used, the sacrifice o f even
spacing is not noticeable; on the other hand w hen
the m easure is very narrow unevenness o f spacing
becom es obvious. N o w uneven spacing is in itself
objectionable m ore objectionable than uneven
length o f lines, w h ich is not in itself objectionable.
W e m ake no objection to uneven length o f lines in
blank verse or in a handw ritten or typ ew ritten let
ter. O n the other hand, uneven length o f line in a
page o f prose is not in itself desirable.
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7. T H E
IN ST R U M E N T
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The Instrument
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The Instrument
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7. T H E B O O K
The w orld o f 19 31 reads daily news-sheets like
that one called the D aily M ail; it is brought up on
them; it both produces them & is form ed b y them.
W e m ay take it that the D aily Mail represents the
kind o f mind that w e have got, and in all kinds o f
subtle w ays books are expected to conform to the
Daily Mail standard. Legibility is w h a t the D aily
Mail reader finds readable; good style is w h a t he
finds good; the beautiful is w h at pleases him.
M akers o f books, therefore, w h o refuse this rather
low standard are com pelled to efface personal idio
syncrasy & to discover, if it be possible, the real roots
o f good book-m aking, just as St. Benedict in the 6th
century, confronted b y the decayed Roman society,
w as com pelled to discover the roots o f good living.
Good book-making, good living that is to say not
w hat you or I fancy, but w h a t the nature o f books
and the nature o f life really demand.
It is all very w ell for the men o f com m erce, the
commercial people, to brag about them selves as
servants o f hum anity & o f the hum an mind. They
say grandly enough that a book is a thing to be read,
im plying that a book is not a picture to hang on a
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The Book
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O n the
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The Book
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T h e proportions o f books
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The Book
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The Book
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The Book
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are still done b y hand, e.g. the pasting o f the endsheets & the insertion o f head bands o f parti-coloured
cloth. But except for individual private customers
binding , i.e. the sew ing o f the sheets & the lacing
o f the w h o le thing to the cover so that book & cover
are one thing, is not done at all. Doubtless the ordi
nary products o f com m ercial printing are not suitable
for any other treatm ent, & w h ile the cry is for cheap
er & cheaper books anything but w h a t can be done
b y m achine is out o f the question. Printing done by
m achinery on m achine made paper m ay w ell be
cased in m achine made casing, but printing done
b y hum an beings on paper m ade b y hum an beings
ought to be bound b y human beings.
T h e question arises: h o w m any copies o f a book
should be printed? There are several appropriate
answ ers to this question. The first i s : as m any as
can be s o ld ; and this is the only answ er w e shall
consider here. But there are tw o prim ary consid
erations in the selling o f a n y th in g : (a) the number
o f people w h o can be supposed to desire a thing
because it is desirable in its e lf; and (b) the number
w h o can afford to buy it. If all those to w ho m a
book is desirable can afford to buy it, then the ed
ition is properly lim ited to all those ; but if only a
The Book
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It is obvious
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The Book
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9. B U T
W H Y
LETTERING?
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But W hy Lettering ?
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But W hy Lettering ?
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as t h o u g h t ?
But W hy Lettering ?
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But W hy Lettering ?
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But W hy Lettering ?
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