Hermann Zapf on Alphabets

Hermann Zapf's legacy remains today in the typefaces offered by Microsoft Word: Optima, Palatino, and Zapfino. Other platforms deliver Melior and Linotype Aldus. Searching Google for Hallmark Jeannette will not take you to the font he designed for the greeting card company. The Blogspot platform is woefully underpowered for typography. We make do with what we have.

The whole duty of Typography, as of Calligraphy, is to communicate to the imagination, without loss by the way, the thought or image intended to be communicated by the Author. – Thomas James Cobden-Sanderson. (Frontispiece.) 

[Thomas James Cobden-Sanderson (né Sanderson; 2 December 1840 – 7 September 1922) was an English artist and bookbinder associated with the Arts and Crafts movement. ... He was the godfather of Bertrand Russell. -- https://en.wikipedia.org/wiki/T._J._Cobden-Sanderson]

“While visiting the United States in 1954 and 1957, I often talked with friends about printing types and modern industrial design. It seemed odd to find ultra-modern folk there for whom a plane that needed nineteen hours to fly from Frankfurt to New York was already a hobbling vehicle, but who in their own printed works preferred the most old-fashioned types of the 19th century. How one wished to ask these fanatics of ‘progress’ whether they still drive cars built in 1900, or furnish home or office in turn-of-the-century style. […]

The type of today and of tomorrow will hardly be a faithful recutting of a 16th century roman of the Renaissance, nor the original cutting of a classical face of Bodoni’s time—but neither will it be a sans-serif of the 19th century. It will surely be said that most book printers and their customers demand the historical forms. But on the other hand most of the public, too, demands cheap imitations of Chippendale furniture, Renaissance writing tables and romantic reproductions. Nor is it always the little people for whom the modern forms lack appeal, since taste only too often fails to keep pace with the growth of the bank account. Progress always demands courage; and as the powers of conservatism were and are always in the majority, they will not stop the entire development, they can only retard it. But where do we stand today? There is much talk of modern design, but if we study the catalogues and promotional printing we often find late 19th century printing types used to promote these ‘modern forms’. Just to which point in the 19th century do our lives and endeavors seek to return? Can the second half of the 19th century, the time of stylistic confusion and historicism, offer any basis for a future development? One has only to think of railway stations with Doric columns of iron, and of neo-gothic churches, or simply the ample beards of our great-grandfathers.” – pg. 36-37.

And is it not an anachronism when Albert Einstein’s relativity theory, or works by Bertrand Russell, Pasternak, and other such are printed with types of historic design? Pg. 59-60

 

 

See also Hunt Roman: The Birth of a Type,
George H. M. Lawrence, ed., Pittsburgh Bibliophiles, 1965.
Zapf designed this face for the Hunt Botanical Library.
(See also https://typographica.org/typeface-reviews/hunt-roman/)

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Words into Type 

Start the Presses! 

For the Glory of Old Lincoln High 

Money as Press and Speech