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18 Tugboat, Volume 38 (2017), No. 1 Review and Summaries: The 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing | The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l'Ecriture´ Typographique | le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. Jacques Andr´e,ed- visible to readers. In a profusion of new styles, move- itorial direction. Atelier Perrousseaux, Gap, France, ments, and polemics, a plethora of avowedly rev- 2016, http://tinyurl.com/ja-xxieme. The book olutionary \-isms" challenged traditional tenets of is in French. Volume 2 covers the years 1950 to 2000, typography in zealous efforts to reformulate, aban- to be reviewed later. don, or replace long-held principles of typographic organization and expression. Some of these cultural movements hearkened back to an idealized typographic past, while others pointed to an idealized future. Our typography today is a mix of such memories versus desires: old and new, traditional and modern, potential and practical, obsolete and avant-garde. There have been relatively few books on ty- pography that provide deep analysis of its cultural transformations, knowledgeable explanations of its technological progression, and copious illustrations to accompany both aspects. That is why this book is a milestone in the scholarship and appreciation of modern typography. Totaling 522 well-illustrated pages in two volumes of essays by a group of typographic experts under the editorial direction of Jacques Andr´e[1], the books provide an impressive perspective on the typographic art, culture and technology of the past century. [2] Instead of an overview of the whole book, this review of the first volume gives partial summaries and comments on each of the chapters, This is done for two reasons. First, the book is in French, so the short, mini-summaries may help English-language readers get some idea of the contents and significance of those The 20th century saw the three most transformative various chapters that may be of particular interest. innovations in typographic technology after Guten- Second, because each author writes with different berg's invention of alphabetic movable type five cen- expertise, perspective, and literary style, these mini- turies earlier. Each innovation by turns increased summaries may give some hint of the variety of styles speed, reduced cost, and increased efficiency of text and sensibilities in the essays. The book deserves an composition. First came keyboard-driven hot-metal English edition, but it is hoped that these notes may composing machines like Linotype and Monotype; at least point to what is contained therein. invented in the late 19th century, these achieved com- Here are the chapters of Volume 1. mercial dominance in the early decades of the 20th century, supplanting most hand-set type. Next came Alan Marshall: Preface (Pr´eface) phototype | electro-optical photographic composi- The 20th century was one of the most eventful peri- tion; invented in the 1940s, phototype replaced most ods in the history of typography, influenced by two hot-metal typesetting by the 1970s. Lastly came major changes, the mechanization of typesetting and digital typography; invented in the 1960s, it replaced the diversification of the use of print. The former most metal and photo typesetting by the year 2000. advanced typography for reading, while the latter Typesetting occurs prior to print, so these technolog- transformed typography for seeing. The selection and ical changes went mostly unnoticed by readers. By production of typefaces for mechanized composition the end of the millennium, however, digital typogra- concentrated mainly on traditional type forms that Charles Bigelow TUGboat, Volume 38 (2017), No. 1 19 are nearly subliminal in extended texts, but for pro- Art Deco was (and still is) an aesthetic family that motion of goods and dissemination of publicity in the encompassed several different but somehow related increasingly mass-market 20th century, super-liminal visual styles. Understanding Art Deco visual rela- type styles were created to arrest, shock, intrigue, se- tionships is a bit like grappling with Wittgenstein's duce, and persuade readers of short commercial mes- remarks on family resemblance | is there a single sages. As technology and usage changed, traditional core element or a set of overlapping similarities? methods did not entirely disappear; hand-set display Whatever its visual core, Art Deco influenced poster types, for example, were often used in conjunction art, architecture, signage, advertising, and typogra- with mechanized composition of longer texts. phy and characterized the then-modern era of the 1. Matthieu Cortat: The flowering of the 1920s and 1930s, between the two great wars. De- Modern (La floraison de la modernit´e) spite diversity within the style, multiple connections From beginnings in the late 19th century English can be traced among its apparently disparate forms. Arts & Crafts movement and French lithographic Of particular typographic note are Art Deco type- poster lettering, new typographic styles emerged, faces by designers who are better known today for especially the flowing, floral, and youthful styles more sober creations, including Morris Fuller Ben- gathered under the banner of Art Nouveau, which ton, Rudolf Koch, Imre Reiner, Robert Middleton, exercised international influence on lettering and and Dick Dooijes. There are also notable designs typography, often in contrast to traditional typogra- by artists firmly within the Art Deco genre such as phies of France and Germany. The botanical style A. M. Cassandre. Unlike the Art Nouveau types, of Art Nouveau is a recurrent theme in this essay, many forms of Art Deco continue to be used today. which ends with an olfactory metaphor: that when Jacques Andr´e:First Interlude: the avant-garde moved on to other styles, Art Nou- The sociology and revival of a type style: veau typography faded into obsolescence, leaving stencil (Pause: Sociologie et renouveau d'un only occasional whiffs of a flowery perfume in its caract`ere:les pochoirs) wake. (This reviewer recommends a whiff of Jacques This absorbing, often amusing, and copiously illus- Guerlain's \Apr`esl'Ond´ee"(After the Rain Shower), trated exposition proceeds from a hand silhouette the quintessential Art Nouveau perfume, composed in palaeolithic cave painting to the analytic logic of in 1906 but still in production and regarded as one form and counter-form in letter shapes; from spray- of the greatest fragrances of all time.) painted graffiti to labels on gunny sacks and letters on 2. Roxanne Jubert: Signs of the avant-garde: wine barrels; from slogans on walls to road markers; the alphabet between construction, system, from signs cut in metal to stencil-like typefaces by art and utopia (Signes des avant-garde: Auriol, Jacno, and other 20th century type designers. l'alphabet entre construction, syst`eme, 4. Nelly Gable and Christian Paput: art et utopie) Perennity of punches and matrices This lucid yet congenial exposition, reminiscent of (P´erennit´edes poin¸conset matrices) the essays of Roland Barthes, analyses the explosion A clear and beautifully illustrated treatise on type of diverse avant-garde movements in Europe, includ- punch-cutting, emphasizing the tools and techniques ing Futurism, De Stijl, Dadaism, Constructivism, still used today at the French Imprimerie Nationale. Bauhaus, New Typography, and their effects on ty- For five and a half centuries [3], punch-cutting has pographic forms and organizations. The structuralist been at the core of every era of typography, practiced approach of the essay effectively elucidates implicit by a tiny group of skilled artists whose exquisitely (and sometimes explicit) aesthetic and semiological precise work has rarely received public recognition, philosophies of the avant-gardists with their arrest- first because it was necessarily executed in miniature ingly visual modularization and segmentation of ty- (like the 10 point type you are reading now) and was pographic images, their construction of experimental usually anonymous (apart from in-group knowledge alphabets, and their integration of typography, ge- of a few typographic cognoscenti) because type was ometry, and photography. Even the best English made in service of the arts of literature and knowl- discussions of avant-garde typography are rarely this edge. Stanley Morison wrote that typography is only interesting. accidentally aesthetic, \for the enjoyment of patterns 3. Roxanne Jubert: The Art Deco Letter: is rarely the reader's chief aim." This applies as well variety, stylization, play, and contrast to the jewel-like intricacy of finished punches. In (La lettre Art D´eco:vari´et´e,stylisation, jeu, this chapter, the methods, tools, and techniques of contraste) cutting and proofing punches, and of striking and Review: The History of Typographic Writing | The 20th century; vol. 1 20 TUGboat, Volume 38 (2017), No. 1 justifying matrices, are precisely described and ex- 6. Manuel Sesma: Return to historical plained, coupled with clear photographs by Nelly and neo-historical typefaces (Retour aux Gable and Daniel Pype. Among its side-revelations caract`ereshistoriques et n´eo-historiques) are the names of the principal French punch-cutters Revival and practice of past letterforms is tradi- who worked at the Imprimerie Nationale, Deberny & tional in Asian calligraphy. In the Italian Renais- Peignot, and other organizations in the 20th century. sance, Humanist handwriting revived Carolingian Thus, artists who worked mostly in obscurity are court handwriting of six centuries earlier and be- rescued to some extent from anonymity. A photo came the model for the first roman and italic types. of punches bearing the punch-cutters' own identi- Arts and Crafts printers revived older types using fying stamps furthers the cause. Little has been photographic enlargements from books and hand published on punch-cutting, and even less is still in punch-cutting.
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