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Hebraica Now! the Book Arts, 1991–1993 Leila Avrin the Hebrew University of Jerusalem, Jerusalem, Israel

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Hebraica Now! the Book Arts, 1991–1993 Leila Avrin the Hebrew University of Jerusalem, Jerusalem, Israel Judaica Librarianship Volume 8 Vol. 8 no. 1-2 154-161 9-1-1994 Hebraica Now! The Book Arts, 1991–1993 Leila Avrin The Hebrew University of Jerusalem, Jerusalem, Israel Follow this and additional works at: http://ajlpublishing.org/jl Part of the Bilingual, Multilingual, and Multicultural Education Commons, Book and Paper Commons, Graphic Design Commons, Information Literacy Commons, Jewish Studies Commons, and the Reading and Language Commons Recommended Citation Avrin, Leila. 1994. "Hebraica Now! The Book Arts, 1991–1993." Judaica Librarianship 8: 154-161. doi:10.14263/2330-2976.1261. , Association of Jewish Libraries, 28th Annual Convention, New York City Hebraica Now! The Book Arts, 1991-1993* LeilaAvrin ' The Hebrew University of Jerusalem Jerusalem, Israel Abstract: There have been several published, so that the reader may learn printers, and publishers. For example, positive developments in the areas of about developments in fine Hebraica and Tuvia Aharoni, a Tel Aviv graphic and Hebrew typography, fine and private Judaica in that decade.1 Hebraica Now! packaging designer working in the 1930s, printing, and artists' books from 1991 brings the subject up to date (since 1991) designed Hebrew types for the Berthold to 1993. The paper discusses recent in the fields of Hebrew typography, fine foundry. All four of the most successful I typefaces by the Jerusalem designer_ and private Hebrew printing, and artists' pioneer type designers in Israel devoted Zvi Narkiss; the typographic experi­ books. (For a definition of the last term, many years to perfecting successful, leg­ ments of Ariel Wardi, former head of see section with that heading below.) ible faces until they achieved their final the Printing Department of Hadassah designs. For three of them, their work I College of Technology in Jerusalem, Typography came to fruition in the 1950s. The work of as well as a new Hebrew display letter, the fourth was just beginning then. "Hillel," designed by Scott-Martin When one speaks of Hebrew typography Kosofsky for the Harvard Hillel Sab­ for commercial printing, one must bear in Henri Friedlaender was already a Master bath Songbook. The works of two pri­ mind that type today no longer is cast in compositor when he was graduated from vate presses are examined: that of metal, as it was in the olden days, for the Academy of Graphic Arts in Leipzig in the Santa Monica private printer Jacob hand composition, and it is not composed 1926. During the time that he was working Samuel in a book illustrated by Micha in automatic typesetting machines such in the Klingspor typefoundry in Offenbach Ulmann, and that of Jerusalem's as Linotype or Monotype, both termed (1928-1930), he began experimenting designer-bookbinder, Yehuda Miklaf. "hot type." Type today, called "cold type," with the design of Hebrew letters. From Two significant artists' books have ap­ is intended for computer composition, ac­ 1930 to 1932, at the Haag-Drugulin print­ peared recently: Maftir Yonah, a limited complished either by the sophisticated ing office in Leipzig, he was in charge of hand-printed edition with calligraphy equipment of composing firms (which typesetting and printing "Oriental texts," by David Moss and etchings by Mor­ may or may not be combined with printing meaning Hebrew (in this instance, but in dechai Beck, printed at the Jerusalem houses), or by owners of personal com­ general it includes Arabic and Coptic). Print Workshop, and The Six Days of puters. These may include small busi­ While living in hiding during the German Creation, a work in monoprint, with nesses, institutions, or individuals who occupation of Holland (1942-1945), calligraphy and drawing by Malla Carl. have acquired software fonts, such as Friedlaender worked more intensively on Another milestone is the 1992 Hebrew those that exist for IBM compatibles or for his outstanding, clear Hebrew type, which translation by Israel's veteran printing the Apple Macintosh, and a printer capa­ he eventually called Hadassah, after the expert, Gideon Stern, of the printer's ble of of producing Hebrew type. Printing School he established and manual, Bruckmann's Handbuch der directed in Jerusalem, where he settled in Drucktechnik as Sefer ha-defus. It Before the twentieth century, typecutters 1950. Friedlaender was already literate in includes the history and essentials of of Hebrew letters were not Jewish, but it Hebrew, although he said he could not Hebrew typography and serves as an is assumed that professional scribes pro­ speak it well when he arrived in Israel. invaluable reference work for the new vided designs for foundries producing and The first Hadassah was cast by the firm generation of Hebrew printers. selling type to Jewish and Christian print­ Lettergeiterij Amsterdam in 1958, and ers. Even in the early twentieth century it with a license from them, the letters were This paper is a continuation of my lecture was necessary for the punchcutter, who eventually produced for photocomposition on the subject of fine Hebraica and made the matrices from which type was by lntertype. Thus, Hadassah type was 28 Judaica in the 1980s, given at a sym­ cast, to collaborate closely with the years in the making. lsmar David began posium devoted to the Hebrew Book that scribe. Such was the case with the first designing his types in 1932, when he emi­ was held at the Library of Congress in Jewish type designer we can identify in grated to Palestine, reworking them in 1991, in conjunction with the exhibition the early-twentieth century, Rafael Frank, 1949 and 1950. Twenty years in the mak­ "From the Ends of the Earth." The Wash­ who created the Frank-Ruhl type pro­ ing, they were produced in 1952 by Inter­ ington, DC lectures will, one hopes, be duced by the Berthold foundry in Leipzig.2 type, the automatic typesetting firm which sold equipment to printers in Israel; Pho­ When the revival of Hebrew literature and ton later produced the letters for photo­ the Jewish settlement in Palestine from composition. A slightly altered version *Presentation at a session on "The Book the 1920s to the 1950s necessitated new was cast by Dr. Moshe Spitzer's Arts" at The 28th Annual Convention of typefaces, type designers were either cal- Jerusalem Typefoundry in 12- and 16- The Association of Jewish Libraries, held 1 igraphe rs or professional graphic de­ point, without the designer's permission.3 at The New York Hilton Hotel, June 21, signers familiar with the Hebrew alphabet, Eliyahu Koren (Korngold), who headed 1993. who still worked closely with foundries, the graphic art department of the Keren 154 Judaica Librarianship Vol. 8 No. 1-2 Spring 1993-Winter 1994 ,r Association of Jewish Libraries, 28th Annual Convention, New York City Kayemet (Jewish National Fund) from 1936 to 1957, worked on his famous type Old mp a�'?, , o'ml?D ,,�� ,'D ,,��, for 11 years, first in the mid-1940s, when , he was inspired by a medieval Sephardi ;l'�Q� D'��1� n1iH�iJ1 manuscript for his hand-lettered edition of ;nmo� ni :g D Jonah, published by the Hebrew Univer­ � n ?1!iJ1 sity in 1946. These letters were re­ nu'? lv� 'W n?o� nQ '� designed in the 1950s and cast in France in 36-point in 1957, specifically for the .,1g,� liJ� 'W't' 1N ;nr?i Koren Bible, printed between 1962 and 1964 (Avrin, 1986). = t t New t nn::> oJr.r r ! D lllt.lil- - 1JJ il 1JJ� The fourth major designer to devote many •: •• "." : • '• : : T : ' '" , T : years to the creation of Hebrew typog­ ·ym',t D'lli� ni1i�::>m raphy is the prolific Zvi Narkiss, who T - : •: • - : recently moved from Ramat HaSharon to t · nilim,m: nin::> o,,.,m• : Jerusalem and lives in East Talpiot, very - •• T -T- close to the site where he was stationed - nJJ? F)� 'W Q'Q\?il l;) '� during Israel's War of Independence. He started younger than the aforementioned .1i9�� lQl,? 'l�'PiN ;n�? designers, and over the years has pro­ duced many more styles of type, grouping them into families as is the practice for Figure 1. Old and new nikud (vocalization) by designer Zvi Narkiss. English typography: each basic style has Narkiss has provided his new nikud with a clarity never achieved before variations such as bold, upright, slanted, in a composition system. The points of older vocalization (except where condensed; and different weights, such as it was added by hand) often blurred and merged with each other. light, book, medium, heavy. To date, he has designed more than 40 fonts, in 12 was photographed for printing.) Narkiss's not particularly readable when combined families. Zvi Narkiss had been preoccu­ vocalization is attached to the composi­ with other Hebrew letters in a continuous pied with Hebrew lettering since he was tion system, and can now be used practi­ text. four years old in Romania, where, in cally with Linotron and Varityper. l]eder, the melamed asked the class to Equally reprehensible are the cold-type write out the alphabet. The teacher told Although Hebrew was not the mother foundries which pirate the best designs. the class that Zvi's example was written tongue of these four major type design­ For example, Autologic in the U.S. "was as it should be (Narkiss, 1990). His first ers, they were all conversant and literate inspired by" letters designed in Is­ typeface, Narkiss Block, was designed in in the language by the time their fonts rael, with their appearance and names 1957, and was sold to Dr. Moshe appeared. In contrast to Hadassah, Koren, slightly altered but not improved upon: Spitzer's Jerusalem Typefoundry (cut by David, and Narkiss, the several typefaces "Dovid" for David, "Hodos" for Hadassah, Rosner in 1958); these were display let­ designed by Franziska Baruch (Stam, Mayer­ "Keter" for Koren, "Kislev" for Narkiss, ters in three weights.
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