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TYPO GRAPHY

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Letterforms change constantly, yet differ very little, because they are alive. The principles of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made.

Writing systems vary, but a good page is not hard to learn to recognize, whether it comes from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy. The principles that unite these distant schools of design are based on the structure and scale of the human body - the eye, the hand, and the forearm in particular - and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads.

Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage.

It is true that typographer’s tools are presently changing with

Ubiquitous T

The presence of typography both good and bad, can be seen everywhere.

Type

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

YPOGRAPHY MAKES AT LEAST two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden.

This book has therefore grown into some-thing more Typography thrives as a shared concern - and there are no paths than a short manual of typographic etiquette. It is the at all where there are no shared desires and directions. A typogfruit of a lot of long walks in the wilderness of letters: in rapher determined to forge new routes must move, like other part a pocket field guide to the living wonders that are solitary travellers, through uninhabited country and against the found there, and in part a meditation on the ecologi- grain of the land, crossing common thoroughfares in the silence cal principles, survival techniques, and ethics that ap- before dawn. The subject of this book is not typographic soliply. The principles of typography as I understand them tude, but the old, well- travelled roads at the core of the tradition: are not a set of dead conventions but the tribal customs paths that each of us is free to follow or not, and to enter and of the magic forest, where ancient voices speak from all leave when we choose - if only we know the paths are there and directions and new ones move to unremembered forms. have a sense of where they lead. That freedom is denied us if the One question, nevertheless, has been often in my mind. tradition is concealed or left for dead. Originality is everywhere, When all right-thinking human beings are struggling to but much originality is blocked if the way back to earlier disremember that other men and women are free to be dif- coveries is cut or overgrown. If you use this book as a guide, by ferent, and free to become more different still, how can all means leave the road when you wish. That is pre- cisely the one honestly write a rulebook? What reason and author- use of a road: to reach individu- ally chosen points of departure. ity exist for these commandments, suggestions, and in- By all means break the rules, and break them beautifully, delibstructions? Surely typographers, like others, ought to erately, and well. That is one of the ends for which they exist. be at liberty to follow or to blaze the trails they choose.

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considerable force and speed, but this is not a manual in the use of any particular typesetting system or medium. I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.dge, true surprise.

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