Cpenca didot

8/14/2019 Cpenca didot

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didot


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didot

Edited and designed by Caroline Penca, GDES 1314.02


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didotText from The Elements of Typographic Style by Robert

Bringhurst


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Like oratory, music, dance, calligraphy-like anything that lends its grace to language -

typography is an art that can be deliberately misused.

It is a craft by which the meanings of a text (or its absence of meaning)can be clarifed, honored and shared, or knowingly disguised.

A B C D E F G H I J K L M N O P Q R ST UVW XY Za 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

(regular, 18 pt., center justied)

A B C D E F G H I J K L M N O P Q R S T UVW XY Za 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

(bold, 18 pt., center justied)

A B C D E F G H I J K L M N O P Q R ST UV W XY Za 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

(italic, 18 pt., center justied)

A B C D E F G H I J K L M N O P Q R S T UVW XY Z

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(headline, 18 pt., center justied)


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There is a style beyond style.(italic, 24, 12 pt.)

Thereisastylebeyon

dstyle.

(headline,12,24

pt.)

Literary style, says Walter Benjamin, is the power tomove freely in the length and breadth of linguisticthinking without slipping into banality. Typographicstyle, in this large and intelligent sense of the word,does not mean any particular style my style or yourstyle, or Neoclassical or Baroque style - but thepower to move freely through the whole domain oftypography, and to function at every step in a waythat is graceful and vital instead of banal. It meanstypography that can walk familiar ground without

sliding into platitudes, typography that respondsto new conditions with innovative solutions, andtypography that does not vex the reader with itsown originality in a self-conscious search for praise.Typography at its best is a slow performing art,

worthy of the same informed appreciation that we sometimes give to musical performances, andcapable of giving similar nourishment and pleasure

in return. (regular, 12 pt, center justied)

Thereisastylebeyond

style.

(bold,

12,

24pt.)

There is a style beyond style.(regular, 12, 24 pt.)

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Even a

Shakes

certai

text: pnuthe

publi

etterforms have tone, timbrand character,just as words

what the typographer must sust play, is simply passage

Letters have a life and dignity of their own. Letterforms thathonored in their turn. Well-chosen words deserve well-choseintelligence, knowledge and skill. Typography is a link, and it

as strong as the others in the chain.Yet in order to be read, iwith anything to say therefore aspires to a kind of statuesqnot immunity to change, but a clear superiority to fashion.timelessness and time. One of the principles of durable typ

legibility: some earned or unearned interest that gives its livarious names, including serenity, liveliness, laughter, grace

In a world rife with unsolicited message

attention to itself before it will be read.(bold, 16 pt., left aligned)


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edition of Plato or

eare will contain a

amount of routine

ge numbers, scenebers, textual notesopyright claim, the

hers name (regular, 50 pt., right aligned)

,nd sentences do. Some of

t, like what any musicianork.(italic, 48 pt, left aligned)

onor and elucidate what humans see and say deserve to beletters; these in their turn deserve to be set with affection,

ought, as a matter of honor, courtesy and pure delight, to be

must relinquish the attention it has drawn. Typographye transparency. Its other traditional goal is durability:ypography at its best is a visual form of language linkinggraphy is always legibility; another is something more than

ing energy to the page. It takes various forms and goes byand joy.(headline, 16 pt., left aligned)

, typography must often draw


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But humble texts, such as classied ads or the

telephone directory, may prot as much asanything else from a good typographical bath and

a change of clothes. (heaadline 20 pt.)

The fun

as I understand it,(regular, 48 pt.)

The satisfactions of theand perhaps even ennobling, the text,

by applying scents, paints a(italic 18 pt., c


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And ma(regular, 100 pt.)

tion of typography,is neither to further the power of witchesnor to bolster the defences of those, like thisunfortunate parliamentarian who live in terror

of being tempted and decieved. (bold 18 pt.)

craft come from elucidating, not from deluding the unwary reader

d iron stays to empty prose.nter justied.)

& b k


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(regular, 42 pt.) & many a book(italic, 42 pt.)

& many a book(bold, 42 pt.)& many a book

(headline, 42 pt.)& many a book

y a bookThe moment a text and a typeface are

chosen, two streams o


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like many a warrior

or danceror priest of either sex,(italic, 24 pt., left aligned)

may look well with some painton its face, (regular, 30 pt., left aligned)

or a bone in its nose.(bold, 36 pt, left aligned)

thought,thought,thought,thought, (bold, 72 point)two rythmical systems, two sets of habits,or if you like, two personalities, intersect.(bold, 24 point, right and left alilgned)

Th h


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The typographers oneessential task is to interpretand communicate the text.(regular, 30 pt, left aligned)

The typographer is to the t

to the script, or the(bold, 30 pIn poetry and drama, a larger typographic

palette is sometimes required. Some of Doug-lass Parkers translations from classical Greekand Dennis Tedlocks translations from Zuni

use roman, italic bold, small caps and full

caps in various sizes to emulate the dynamicmarkings of music.(headline, 18 pt, right aligned)


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Its tone, tempo, its logicalstructure, its physical size, all

determine the possibilities of itstypographic form.(italic, 32 pt., right aligned)

xt as the theatrical director

usician to the score.., centered)

Robert Massins typographic performances of EugeneIonescos plays use intersecting lines of type, streched and

melted letters, inkblots, pictograms, and a separate type-face for each person in the play. xIn the works of otherartists such as Guillaume Apollinaire and Guy Davenport,boundaries between author and designer sometimes van-

ish. Writing merges with typography, and the text becomesits own illustration.(headline, 14 pt, left aligned.)


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Didot was created by Firmin Didot of the Didottypefoundry in the late 1700s. Didot is known for itscharacteristic contrast between thicks and thins and is aneoclassical font.


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so the typographer can make poignant andlovely typography from bibliographical

paraphernalia and textual chaff.

But just as a good musician can make aheart-wrenching ballad from just a few banal

ords and a trivial tune,

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