Euro
stile
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EUROSTILE LT Std Bold extended 2
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EUROSTILE Font designer: Aldo Novarese Book Designed and bound by Mitchell Hallmark at St. Edwards University Austin TX 78704
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Table of Contents
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6) Communicating the Text 7-8) The Typographers Task 9) Writing as a Link 10-11) Typographys objective 12) Eurostile Styles 13) Type at its Best 14-15) Typographers Task (cont) 16) Typography is... 17)Colophon
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The typographer’s one essential task is to interpret and... Bold Extended 2, 20pt
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...communicate the text. Bold Extended 2, 32pt
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. Bold, 10pt / 12pt
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The first task of the typographer is therefore to read and understand the text; the second task is to analyze and map it. Only then can typographic interpretation begin. 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. Medium 13pt / 15pt
Condensed 13pt / 15.6
Bold Oblique 36pt
Typography at its best is a visual form of language linking timelessness and time. One of the principles of durable typography is always legibility; 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 serenity, liveliness, laughter, grace and joy.
unnatural edge
The typographer’s task has always been to add a somewhat
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Demi Oblique 24pt / 28.8 pt
Selecting the shape of the page and placing the type upon it is much like framing and hanging a painting. A cubist painting in an eighteenth-century gilded frame, or a seventeenth century still-life in a slim chrome box, will look no sillier than a nineteenth-century text from England set in types that come from seventeenthcentury France, asymmetrically positioned on a German Modernist page. Condensed 10pt / 12pt
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Typ an ogra d ma it o phy i sa ug t t e cou r o ht, link a r de tes f ho s a , ligh y a no str t, t nd r, o oth ng a o be pure Dem e st as i 24 rs h pt / 28p in t the e ch ain .
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Evidently there is nothing inherently noble ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{} √≤≠≈≥∫∑Ω∆∏ℓ€‰Ω and trustworthy in the written or printed word. Yet
ÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤ generations of men and women have turned to writing and printing to house and share their deepest ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰Ω hopes, perceptions, dreams and fears. It is to them,
not to the extortionist - nor to the opportunist or the ÿ¢¥©{} √≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{ profiteer - that the typographer must answer. Demi 10pt / 12pt
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¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√ 11 ∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√ typography must often draw ∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{} √≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽ attention to itself before it ¿¢¥©{} √≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√ will be read. Yet in order to ∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽ be read, it must relinquish ¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√ the attention it has drawn. ∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽ The satisfactions of the ©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈ craft come from elucidating,
‰ΩŽŸùö÷ÖÄÿ¢¥©{} √≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸ and perhaps even ennobling,
¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈ the text, not from deluding the unwary reader by apply‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸù ing scents, paints and iron ¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{} √≤≠ stays to empty prose. ‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö Bold Extended 2, 16pt / 19.2pt ≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑ ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸù ≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑ ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷Ö {}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥ ΩŽŸùö÷ÖÄÿ¢¥©{}√≤≠≈≥∫∑Ω∆∏ℓ€‰ΩŽŸùö÷Ö
typography typography typography typography typography typography typography typography typography
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Bold Condensed
Medium Demi
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Condensed
Oblique
Demi Oblique
Bold Oblique
Extended 2
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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, the letters are alive. Evidently there is nothing inherently noble and trustworthy in the written or printed word. Yet generations of men and women have turned to writing and printing to house and share their deepest hopes, perceptions, dreams and fears. It is to them, not to the extortionist nor to the opportunist or the profiteer that the typographer must answer. Bold Condensed 14pt / 16.8pt
Typography at its best is a slow performing art, worthy of the same informed appreciation that we sometimes give to musical performances, and capable of giving similar nourishment and pleasure in return. Medium 10pt / 12pt
Demi Oblique 10pt / 12pt
EUROSTILE Typography is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunities for insight or obtuseness. Bold Condensed 15pt / 18pt
Bold, 10pt / 12pt
Some of what a typographer must set, like some of what any musician must play, is simply passage work. Even an edition of Plato or Shakespeare will contain a certain amount of routine text: page 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. But just as a good musician can make a heart-wrenching ballad from a few banal words and a trivial tune, so the typographer can make poignant and lovely typography from bibliographical paraphernalia and textual chaff. The ability to do so rests on respect for the text as a whole, and on respect for the letters themselves.
Its tone, its tempo, its logical structure, its physical size, all determine the possibilities of its typographic form. The typographer is to the text as the theatrical director to the script, or the musician to the score.
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Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Wellchosen words deserve wellchosen letters; a protective shell of artificial order, to the power of the writing hand. Demi 16pt / 19pt
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. Typography is just that: idealized writing. Demi 16pt / 19pt
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COLOPHON Eurostile LT STD Font designer: Aldo Novarese Book Designed and bound by Mitchell Hallmark at St. Edwards University Austin TX 78704 Printed using impact copy paper Bound using a pamplet stitch With help from: Apple Computers, HP printers, and Adobe InDesign
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