nde hel wo & lo nna wel bata come
PHO TOG RAP HY Photography courtesy of Yagazie Emezi
TRI BES OF
NIGE RIA
L
ike oratory, music, dance, calligraphy – like anything that lends its grace to
pog-
language – typography is an art that
raphy
can be deliberately misused. It is a craft
is
by which the meanings of a text (or its
legibility;
always an-
obscene of meaning) can be clarified, honored and
other is something
shared, or knowingly disguised. In a world rife with
more than legibility:
unsolicited messages, typography must often draw at-
some earned or unearned
tention to itself before it will be read. Yet in order to
interest that gives its living en-
be read, it must relinquish the attempt it has drawn.
ergy to the page. It takes various
Typography with anything to say therefore aspires to a kind of statuesque transparency. Its other traditional goals is durability: not immunity to change, but a clear superiority
forms and goes by various names, including serenity, liveliness, laughter, grace and joy. These principles apply, in different ways, to the typography of business cards, instruc-
to fashion. Typography at its best
tion sheets and postage stamps, as well as to editions
is a visual form of language
of religious scriptures, literary classics and other
linking
timelessness
books that aspire to join their ranks. Within limits,
and time. One of
the same principles apply even to stock market re-
the principles
ports, airline schedules, milk cartons, and classified
of durable
ads. But laughter, grace and joy, like legibility itself, all
t y -
feed on meaning, which the writer, the words and the subject, not the typographer, must generally provide.
“
when a once-beautiful piece of cloth has turned into rags, no one remembers that it was woven by ukwa master weavers.
�
HAUSA I n 1770, a bill was introduced in the English Parliament with the following provisions: …
all women of whatever age, rank, profession
or degree, whether virgins, maids, or widows, that shall … impose upon, seduce, and betray
into matrimony, any of His Majesty’s subjects, by the
scents, paints, cosmetic washes, artificial teeth, false
hair, Spanish wool, iron stays, hoops, high-heeled shoes [ or ] bolstered hips shall incur the penalty of the law in force against witchcraft … and … the marriage, upon conviction, shall stand null and void. The function of typography, as I understand it, is neither to further the power of witches nor to bolster the defences of those, like this unfortunate
parliamentarian,
who live in terror of being tempted and deceived.
YORUBA L etterforms that honor and elucidate
what humans see and say deserve
to be honored in their turn. Wellchosen
words
deserve
well-chosen
letters; these in their turn deserve to
be set with affection, intelligence, knowledge and
skill. Typography is a link, and it ought, as a matter of
honor, courtesy and pure delight, to be as strong as the other in the chain. Writing begins with the making of footprints, the leaving of signs. Like speaking, it is a perfectly natural act which humans have arrived to complex extremes. The typographer’s task has always been to add a somewhat unnatural edge, a protective shell of artificial order to the
power
the writing hand.
of
IGBO T
he tools have altered over the centuries, and the exact degree of unnaturalness desired has varied from place to place and time to time, but the character of the essentials transformation between manuscript and type has scarcely changed. The original purpose of type was simply copying. The job of the typographer was to imitate the scribal hand in a form that permitted exact and fast replication. Dozens, then hundreds, then thousands of copies were printed in less time than a scribe would need to finish one. This excuse for setting texts in a type has disappeared. In the age of photolithography, digital scanning and offset printing, it is as easy to print directly from handwritten copy as from text that is typographically composed. Yet the typographer’s task is little changed. It is still to give the illusion of superhuman speed and stamina – and of superhuman patience and precision – to the writing hand.
R HE
Typography is just that: idealized rarely have the calligraphic
II
skill of earlier scribes, but
they
III
evoke
countless ver
ES
writing.Writers themselves now
IB
OT
FULANI
TR
I
ANNANG
KANURI
Ideal script by their varying voices
In a badly designed book, the let-
and literary styles. To these blind
ters mill and stand like starving
and often invisible visions, the ty-
IV
pographer must respond in visible
horses in a field. In a book designed by rote, they sit like stale bread and
EFIK Typography is just that: idealized writing.Writers themselves now rarely have the calligraphic skill of earlier scribes, but
they
evoke
countless ver
FAS HION OF
NIGE RIA
Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sounds, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do – and it is enough. 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
If the text is tied to other elements, where do they belong? If there are notes, do they go at the sided of the page, the foot of the page, the end of the chapter, the end of the book? If there are photographs or other illustrations, should they be embedded in the text or should they form a special section of their own? And if the photographs have captions or credits or labels, should these sit close beside the photographs or should they be separately housed? If there is more than one text – as in countless publications issued in Canada, Switzerland, Belgium and other multilingual countries – how will the separate but equal texts be arrayed? Will they run side by side to emphasize their equality (and perhaps to share in a single set of illustrations), or will they be printed back-to-back, to emphasize their distinctness? No matter what their relation to the text, photos or maps must sometimes be grouped apart from it because they require a separate paper or different inks. If this is the case, what typographic cross-references will be required? These and similar questions, which confront the working typographer on a daily basis, must be answered case by case. The typographic page is a map of the mind; it is frequently also a map of the social order from which it comes. And for better or for worse, minds and social orders change.
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st
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lW e ca t . g h , bu f ce in e t rh ien s t o i e v r t p a be ns a i w u h es r p s n ed rely r sc rsio voic d of a z li e n in a ie io hum bl tyea w r arl s v ing s d r u o e es ary ese he ble :i fe ill d. t v at es n ll o ntl h i e up an h s h t u eir o t ns, vis t h lv ski f o t e e o g c s s v th . T isio in ju em hic gi nd itin d v ke by yles s a d r i p h n o t – ew y ra an d st ible spo ev ipt t e h g s i r e s y l th , th ap ey sc rar nvi t re nd sign on ts gr a th al s i e o l t ti h rin e u e i p r, il de on w tp id d l ften r m ik Ty m t ne s, k t L y o s g o e n l o u r a o h si ob fo ns. ns ct s s tte a b d m de j gi nd rap fe g e n r e i a l ge e ir e ma g s. b n e n a e of f s e r o p a I e p . o th th d p anc a m g hu k, eld ead wh ne n s er in ng ing in d i t h o t r , i i y o a fi e t o es a ey r ic b v k t i k c b a d h o a n h o d le in n ll m e le ng, t w he d a da i ne es i sta e b e a of l e. T T c l re d l k g h a . v d c i a t e a i d s s v g e e e al es or lik ma ha al an ds of din l to e sh ing d n sp tur em e h e l k a y r r l r t r en ctiv rit tusi el nte ous s a as wa is a s ris dl ing na ext t e a w i w r b b e re it ri te rv hey a e th tte hey en ess it x a h s o p a c a t h t e r t t y y , e d , s a p e s In e s e, ln nd ft pl In nd an e l es e ds s i ion – an . a m alw e, a r o r th ura k rot a h p m n i e r t m t o l y i e ve i t u e t n c e s g ag or ow py et . do so lett ond na lac sse nd by e p sit ha l ed pow d o to s h u m n o y e p c e t o r u o a c ta sk ra he e So sl th al c ed re th mp tte f ed g. t o ts. d ai it m wi e iv s ta atu o t alte e o e t f th crip a n k o s i r c a c u y e m id as o us e ar er’ nn r, t ve la se s an as nc In o m y r op crib gr e l p u n e e h n l a e c e r e y t d a v i l r a p t s e . r sh d in y m rac ep m ha gra ha l o th the arg imp erfe ing e re l pl the st r ds ct fro a n o a l w a o t i r l m h S in p me fic to ex ee in e m si tate d fa san be ca rs a ed e c tw e i s i i u t n h h r l a e so art Th the ari e n t w im t a tho sc ing v ut t n b no cu ph t c e o fi of nd. nd as a a e t t . a b tio p n n if iv gr se ho , ty ex the as ed a a ha s, a d h me, at d d po p g r f g w h d m o t e f y o r f in te s, o ri sire o ti for han an at t h. se phe mit red me se ge nt opy c s t i e g o i h r n u d y a t t e ra rp gra per nd s t xc ou el e et p n c Ye u n s e h u o e tim ls t arc . e t le is h d to l p yp hat itt ffs n t n tia s sc in Th . I d o wr ose till na e t e i d s . d p ig f th orm , th ted ha ne are g an han om t is or s o af n o e i I c e b r p . en h in Th e jo d in oz e p nis sap nn from ally ged r i D e fi ic an d ca y Th han n. w to s l s ectl aph ch a o l s a i a ie ir gr at le ed e h git lic cop ne typ , di nt d ypo litt t i is of uld n a phy pr is sk i o a t o r t a s w ta xt og asy t th r’s te ith e l ex he to s as m t rap i g o it fr po s y a et th an
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s, ce an and m or ent rf m pe sh ed al uri a us ic no us be for al r m c i la an nd s to imi og ters a i ol gn s t h si ve g bi le can gi n de and of s ve as vi G nt r lo elve ell ly ge gi es e f . s pa as w im fo nt d m d et le o urn ym th as ide thy t an lo m he o an r n v t s s so pab re io . E two on oh dep d b rs et n rt a l e e i e ti s ab of M nd w d c re us lett xto sou tru era a e e ph y b an asu e al ve nd nd nd gen ae ph us can e lo a ea a t nj y pl ra m e d y e l n d Y b sa iog Be eel th ing , an tio e bo no rd. b n r it fr n la d il i r a l te o Th a e lo tly g an s, pu he v f W w a m al i t r n g e fo nu ns. ate W mo h o pin in an to ere ed a o t t tin op ot m t ip , i h ys m to ad r h s sl rh r nh in ap le o , n he w sa er e st f t ty lig g i pr fo oe re w r to epe hem r t d e, ow d b hou ic s , d ur de in ed d yl an us ng oth n o p yo e it ed de o t t o . st ph or an h e n w t r w ir s t nis or ra er be bri s n itte u e ry s th gth ng i t r ut ain og he et le sw o tu ti e th i ra i w b t y p t e I r n a m pr s er e st , “ len ink Ty of – ite av are rs. po t a er , it h th do in y h s in t t t a h I th ity.” se op mu m tyle le m t he in po ine ep al. d l n en d s d fe e in o s c – to st r m h h in isti ana t se le ue t rm he an un t om an an is w ry te he y e r b T k w o t e s a p e s t st roq the s gu to b gen or . gr no ra th d us m of de ev r ta ,i i ct m a r l – l r y h in ell an ho ea og ll Ba ne at re ia ia ad o g u h r a t p t l t f o e i t di to , d nis ty or ou on ap en in tic st e, ic m en ts s al g e s n iz m d par cal thr cti fa ogr tio th in f es t. I l s aph tric re. li on i t n r k i an p o e x in e any lass eely fu vita wal ty pt xto hat te sica ogr hea sco on , t rg o pr ce e s r – la an eoc e fr d t r’s the phy typ he t the nd an de lu pe the er e is N ov t so er he te la tc tu e an i th t m or u a t e d ap ica , its its t as n to m to ofit y, la ef th ea ch tiv gr x f a p no le, to aph rac o pr un ure va e r ar te sici hy o r y po e e m s gr s g ap st ty no th ct nt u es he w i o i r n i om tru liti o t m ex us he g po typ at c v og t o T e ith ot he d al s sibi is ci th typ idin of w r n nc , rt c s ns an e i a sl ay ns ns es co po ph t, o w m on og o o l ea out p a or tati or iti t d self m rf he gr cri e t r ith nd tha a m pe po e s ht p w l o y r n co g t a th si d fr ing te hy y i ic w n t p i i to e d us f in ne gra al ov clu can . m t o or to o in s c f g em , in it ons ds typ ori e a ial a s s s rr e c, ti ur t on nd n i n o s iti s fa use at en ia e. a w sp u r m n i s ic e e y d re ns, ts o . lit n es ortu phy an e m d us t si rt, i e o s n m tio k t a a p m i a es g a at ith rai is s, n: op ogr as . L r w fin in er th h io p hy itio a rp fo ap os less h ty age and hav aph heir orm ion p gr t c d g rf u gr at be po om en Mu ng pa e pe eci us po o t a . Ty o c f l ty w w la pr ss pr t r o o o u e l e o is ll ap sh a s ip er en , f nd n s h d a a re fu us w ing t is me m tu ng ob ra i ot be est for o t g e n lit cka ed an ts b e in is i m s us pa hi hu at sam be t t er hy e Bu oth rap f th og y o or p Ty rth o w
T
his is the beginning, middle and
But the bits of information handled by typogra-
end of the practice of typography:
phers differ in one essential respect from the com-
choose and use the type with sen-
puter programmer’s bits. Whether the type is set in
sitivity and intelligence. Aspects of
hard metal by hand, or in softer metal by machine,
this principle are explored through-
or in digital form with a computer, every comma,
out this book and considered in detail in chapters
every parenthesis, ever e, and in context. Even ev-
6, 7 and 11.
ery empty space, has style as well as bald symbolic value. Letters are microscopic works of art ars well
Letterforms have tone, timbre, character, just as
as useful symbols. They mean what they are as well
words and sentences do. The moment a text and a
as what they say.
typeface are chosen, two rhythmical systems, two sets of habits, or if you like, two personalities, in-
Typography is the art and craft of handling these
tersect. They need not live together contentedly
doubly meaningful bits of information. A good
forever, but they must not as a rule collide.
typographer handles them in intelligent, coherent, sensitive ways. When the type is
The root metaphor of typesetting is that the alpha-
poorly chosen, what the words say
bet (or in Chinese, the entire lexicon) is a system of
linguistically and what the
interchangeable parts. The word form can be sur-
letters imply visually
gically revised, instead of rewritten, to become the
are
word farm or firm or fort or fork or from, or with
nious, dis-
a little more trouble, to become the word pineap-
hon-
ple. The old compositor’s typecase is a partitioned wooden tray holding hundreds of such interchangeable bits of information. These sub semantic particles, these bits – called sorts by letterpress printers – are letters cast on standardized bodies of metal, waiting to be assembled into
mean-
ingful
disharmo-
S
electing the shape of the page and
Again, does the text suggest the continuous unruf-
placing the type upon it is much like
fled low of justified prose, or the continued flirta-
framing and hanging a painting. A
tion with order and chaos evoked by flush-left rag-
cubist painting in an eighteenth-cen-
ged-right composition? (The running heads and
tury gilded frame, or a seventeenth
side notes on the recto (right-hand) pages of this
century still-life in a slim chrome box, will look no
book are set flush left. Leftward-reading alphabets,
sillier than a nineteenth century text from England
like Arabic and Hebrew, are perfectly at home in
set in types that come from seventeenth-century
ragged-left text, but with rightward-reading alpha-
France, asymmetrically positioned on a German
bets like Latin, Greek or Thai, ragged-left setting
Modernist page.
emphasizes the end, not the beginning of the line. This makes it a poor choice for extended compo-
If the text is long or the space is short, or if the
sitions.)
elements are many, multiple columns may be re-
Shaping the page goes hand in hand with choos-
quired. If illustrations and text march side by
ing the type and both are permanent typographic
side, does one take precedence over the
preoccupations. The subject of page shapes and
other? And does the order or de-
proportions is addressed in greater details in chap-
gree of prominence change? Does the text suggest perpetual
ter 8. Some of what a typographer must set, like some
sym-
of what any musician must play, is simply passage
per-
work. Even an edition of Plato or Shakespeare
petual
will contain a certain amount of routine text: page
metry,
numbers, scene numbers, textual notes, the copyright claim, the publisher’s name and address, and the hyperbole on the jacket, not to mention the passage work or background writing that is implicit in the text itself. But just as a good musician can make a heart-wrenching ballad from a few
banal