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BOOK TYPOGRAPHY: A DESIGNER'S MANUAL
Mitchell, Michael and Susan Wightman
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Book Typography: A Designer's Manual is a comprehensive guide to typography and typesetting. Books depend on good design to communicate. Every type of book, from a poetry collection to an encyclopedia, has its own style of communication. This manual describes the principles of good design, why they exist, and how to put them to practice.
Book Typography leads the reader from an understanding of what is a readable text, through the construction of books through all their different forms - novels, illustrated books and complex reference works. The organization of text and the handling of images are explained in detail. Advice is also given on work progression and print management.
Designing books is a visual task and is best demonstrated with visual examples. Book Typography contains over a thousand examples and illustrations showing typographic principles put into practice - from the smallest detail of punctuation to flat plans of entire books. All the samples come from published works and each is labeled with the font used, its size and leading. Additional information and comment is provided in the side notes.
Book Typography defines the industry's technical terminology in the chapter, "The Basic Terms of the Trade". An extensive glossary is also included. It is an essential guide for students and recent graduates hoping to work in book design and publishing.
Book Typography covers every aspect of the book designer's task, providing an invaluable reference to editors, copy-editors, proofreaders, production managers and publishers.
Distributed for Libanus Press. Sales Rights: Worldwide except Europe and the UK; available in Europe and the UK from Libanus Press.
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THE FARNESE LECTIONARY.
by Alexander, Jonathan J. G.
One of 550 copies. The majestic liturgical book known as the Lezionario Farnese, produced in Rome shortly after the mid-sixteenth century for Cardinal Alessandro Farnese, represents a high point for the art of illumination. Given its size the work is of monumental proportions and the wealth of embellishments, we may consider the Lectionary a codex of exceptional merit. Splendid embellishments By commissioning this truly sumptuous work, Alessandro Farnese brought into being a codex which, for hundreds of years, served as one of the Missals used by the Popes and princes of the Church during the solemnities held at the Sistine Chapel. In its splendid full-page illuminations and wonderful gilded frames adorned with putti, masks and floral motifs we note the influences of the grand art of the Renaissance and, in particular, the work of Michelangelo and Raphael. A widely acclaimed illuminator With its impressive embellishments, the Lezionario Farnese represents one of the masterpieces of Giulio Clovio (1498-1578), the most widely acclaimed illuminator of the late sixteenth century. Clovio was praised by the Florentine historian, Giorgio Vasari, in the second edition of his Lives of the Artists, as the Michelangelo in little. Vasari cites the Farnese Book of Hours and the Lectionary as the most important of the works of Clovio, who, after leaving his native Croatia in 1516, achieved great renown as an illuminator. The Neo-Gothic binding The original binding went missing with the arrival of Napoleons troops. The codex was then re-bound in 1809-1810 in a red velvet Neo-Gothic cover of considerable beauty and refinement (the work of the London binders, Benjamin II and James Smith). We may note the wrought and gilded silver ferrules and clasps and, on the front cover, the polychrome porcelain coats of arms of the Towneley family, the last owners of this work. Patronage The Lectionary was a commission from Alessandro Farnese (1520-1589), the grandson of Pope Paul III Farnese (who ordained Alessandro as cardinal at the age of fourteen). In the early 1540s, Clovio entered the service of Cardinal Alessandro Farnese, considered by historians the most important patron and connoisseur of the arts of mid-sixteenth century Rome. Clovio served the cardinal for the rest of his life, and bequeathed his fine collection of codices and artworks to his patron.
The Commentary: The work is accompanied by a book with commentary, edited by Jonathan J. Alexander, with writings by Jonathan J. Alexander, Nicholas Barker, Elena Calvillo and Clive Wainwright.
Facsimile with accompanying commentary with clamshell box.
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