TypeSpecimenBook by Aracely Dovalina

Gillâ&#x20AC;&#x2122;s House of Design

Gillâ&#x20AC;&#x2122;s House of Design Bold Italic, 42.5 pt

Bold Italic, 13 pt

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Bold Italic, 100 pt

t Ultra Bold, 100 pt

Gillâ&#x20AC;&#x2122;s House of Design Bold Italic, 85 pt

text by Robert Bringhurst published by Aracely Dovalina

Extra Bold, 15 pt

a-z

Bold Condensed, 14.2 pt

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Bold Condensed, 28.6 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ Ultra Bold, 237 pt

Bold Condensed, 15.5 pt

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Extra Bold Display, 300 pt

Gill Gill Sans Std Point Type Designed by: Eric Gill

Extra Bold Display, 13 pt

CONTENT

Bold, 35 pt

Bold, 15 pt

1– 2: Typography exists to honor content 3 – 4: There is style beyond style 5 – 6: Read the text before designing it 7– 8: Analzing Letterform 9 –10: Typographic attention to incidental details

One of the principles of durable typography is Regular, 16/19.2 pt

always legibility;

grace & joy

Bold Extra Condensed, 90 pt

Bold Extra Condensed, 200 pt

Bold Italic, 22/26.4 pt

another is something more than legibility: some earned or unearned interest that gives its living energy to the page. It takes various forms and goes by various names, including...

Bold, 16 pt

Ultra Bold, 16.5 pt

Regular, 16/19.2 pt

Bold Extra Condensed, 90 pt

Letters have a life and dignity of their own. Letters have a life anddignity dignity of their Letters have a life and theirown. own.

Bold Extra Condensed, 90 pt

Bold Condensed, 16/19.2 pt

Letters have a life dignity their own. Letters have aand life and dignity of of their own.

Bold Extra Condensed, 90 pt

Letters have a life and dignity of their own.

Bold Italic,14.3 pt

Typography at its best is a visual form of language linking timelessness and time.

serenity laughter

Letters have a life and dignity of their own.

Extra Bold, 13.5 pt

Typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn.

Letters have a life and dignity of of their Letters have a life and dignity theirown. own. Letters have a life and dignity of their own. Letters have a life and dignity of their own. Letters have a life and dignity of their own.

Bold Italic, 30 pt

Shadowed, 26 pt

Typography exists to honor content.

Writing begins with the making of footprints, the leaving of signs. Like speaking, it is a perfectly natural act which humans have carried to complex extremes. The typographerâ&#x20AC;&#x2122;s task has always been to add a somewhat unnatural edge, a protective shell of artificial order, to the power of the writing hand.

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Typography ¤ ¤ Extra Bold Diisplay, 30 pt

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Bold, 30 pt

is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunities for insight or obtuseness.

Shadowed, 40 pt

Shadowed, 120 pt

there is style beyond style.

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i dD

est is a slo b s w

worthy of the same informed appreciation that we sometimes give to musical performances, and capable of giving similar nourishment and pleasure in return. Italic, 20/24 pt

rming ar t

e v i t a v o n

o i t

Extra Bold Display, 16/19.2 pt

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Literary style, says Walter Benjamin,“is the power to move freely in the length and breadth of linguistic thinking without slipping into banality.” Typographic style, in this large and intelligent sense of the word, does not mean any particular style my style or your style, or Neoclassical or Baroque style – but the power to move freely through the whole domain of typography, and to function at every step in a way that is graceful and vital instead of banal. It means typography that can walk familiar ground without sliding into platitudes, typography that responds to new conditions with innovative solutions, and typography that does not vex the reader with its own originality in a self-conscious search for praise.

Bold Extra Condensed, 15.75/18.9 pt

s n

Light, 13/15 pt

In a well– made book, where designer, compositor, and printer have all done their jobs, no matter how many thousands of lines and pages the latters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

graph o p y T ya t

Condensed, 60 pt

there is a style beyond style. Condensed, 49 pt

Bold Italic, 28 pt

The typographer’s one essential task is to interpret and communicate the text. Its tone, its tempo, its logical Read the text before designing it. structure, its physical size, all determine the possibilities of its typographic form.The typographer is to the text as the theatrical director Discover the outer logic of to the script, or the the typography in the inner musician to the score logic of the text.

The first task of the typographer is therefore to read and understand the text

Bold Italic, 15.5/22 pt

Bold, 20/24 pt

The second task is to analyze and map it. Only then can typographic interpretation begin.

Condensed, 24/28.8 pt

Only then can typographic interpretation begin.

Bold Extra Condensed, 35 pt

Regular, 18/21.6 pt

Italic, 20/24 pt

t 0p 30 ld, Bo ra Ult

Light Shadowed, 15 pt

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ABCDEFGHIJKLMNOPQRSTUV 1 2 3 4 5 6 7

Bold Condensed, 13.5/16.2 pt

1 2 3 4 5 6 7 abcdefghijklmnopqrstuv

* Regular, 100 pt

abcdefghijklmnopqrstuv

A novel often purports to be a seamless river of words from beginning to end, or a series of unnamed scenes. Research papers, textbooks, cookbooks and other works of nonfiction rarely look so smooth. They are often layered with chapter heads, section heads, subheads, block quotations, footnotes, endnotes, lists and illustrative examples. Such features may be obscure in the manuscript, even if they are clear in the author’s mind. For the sake of the reader, each requires its own typographic identity and form. Every layer and level of the text must be consistent, distinct, yet (usually) harmonious in form.

If the text has many layers or sections, it may need not only heads and subheads but running heads as well, reappearing on every page or two– page spread, to remind readers which intellectual neighborhood they happen to be visiting.

Condensed, 25/30 pt

But the reader, like the listener, should in retrospect be able to close her eyes and see what lies inside the words she has been reading. Bold Condensed, 20/24 pt

The typographic performance must reveal, not replace, the inner composition. Ultra Bold Condensed, 22/26.4 pt

Italic, 15/18 pt

Extra Bold, 30 pt

Extra Bold Display, 30 pt

Ultra Bold, 30 pt

character

Typographers, like other artists and craftsmen - musicians, composers and authors as well

Bold, 40 pt

timbre

The typographer must analyze and reveal the inner order of the text, as a musician must reveal the inner order of the music he performs.

Letterforms have tone

Bold Extra Condensed, 30/37 pt

Light Italic, 29.5 pt

Writing merges with typography, and the text becomes its own illustration.

must as a rule do their work and disappear.

just as words and sentences do. Bold Italic, 27.5 pt

The moment a text and a typeface are chosen, two streams of thought, two rhythmical systems, two sets of habits, or if you like, two personalities, intersect. They need not live together contentedly forever, but they must not as a rule collide. Regular, 16.5 pt; Italic, 16.5/19.8 pt

Light Italic, 15/18 pt

Letters are microscopic works of art as well as useful symbols. They mean what they are as well as what they say.

e Ultra Bold, 100 pt

Ultra Bold, 300 pt

Ultra Bold Condensed, 20/24 pt

reveal the tenor and meaning of the text

Extra Bold Display, 16/24 pt

link the text with other existing elements Ultra Bold, 15/25 pt

Bold, 20 pt

induce a state of energetic repose, which is the ideal condition for reading

It should honor the text for its own sake — always assuming that the text is worth a typographer’s trouble

Extra Bold, 150 pt

Ultra Bold, 175 pt

j j

Shadowed, 23 pt

Light Italic, 20/24 pt

Bold Italic, 20/25 pt

Extra Bold Display, 20/33 pt

and it should honor and contribute to its own tradition: that of typography itself

especially to incidental details.

invite the reader into the text

clarify the structure and the order of the text

”

Give full typographic attention

Italic, 20/25 pt

Extra Bold Display, 130 pt

typography, like a musical performance or a theatrical production, should serve two other ends.

“

Regular, 150 pt

Ultra Bold, 15.5/22 pt

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ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 2 3 4 5 6 7 8 9 abcdefghijklmnopqrstuvwxyz Bold Condensed, 15 pt

Ultra Bold, 100 pt

Ultra Bold, 50 pt

{

Ultra Bold, 200 pt

Colophon

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 2 3 4 5 6 7 8 9 abcdefghijklmnopqrstuvwxyz Bold, 15 pt

Typeface by Eric Gill Extra Bold, 15 pt

Bold Condensed, 250 pt

Text by Robert Bringhurst

Extra Bold, 15 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 2 3 4 5 6 7 8 9 abcdefghijklmnopqrstuvwxyz Extra Bold, 15 pt

Design & binding by Aracely Dovalina

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Printed in TH108 5550 HP Color

Extra Bold, 15 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 2 3 4 5 6 7 8 9 abcdefghijklmnopqrstuvwxyz Extra Bold Display, 15 pt

Extra Bold, 15 pt

Gill Sans Std

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 2 3 4 5 6 7 8 9 abcdefghijklmnopqrstuvwxyz Ultra Bold, 15 pt

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