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I have been loving the Benedictine face since I first saw it a few months ago on pages 30-31 of McGrew's American Metal Typefaces of the Twentieth Century. I searched once and again for information about it on the Internet, and, apart from a couple of sample images, I could only find (naturally) an old but quite revealing post on Typophile, and, of course, that wonderful manual on typography by Mergenthaler Linotype from 1923.
Given that no one seems to have carried the remarkable beauty of the Benedictine family (an apparently forgotten gem) into the modern OpenType world, I decided to do it myself ...
Explorations in Typography: Mastering the Art of Fine Typesetting (A Visual Textbook for Intermediate to Advanced Typography) is a new book by Carolina de Bartolo with Erik Spiekermann. An extensive collection of beautiful typesetting examples that allows the student of typography to “learn by looking,” it is sure to be instructive and inspirational to anyone who sets text type.
Visit the interactive companion website at: http://explorationsintypography.com/
:: 9.25 x 12 inches (oversize)
:: casebound with ultra-thin bookboard, so it’s lightweight despite its size
:: yellow gilded edges
:: 188 pages
:: 2 colors throughout
I have a corporate client whose font is Calibri.
This was chosen because the majority of their communication is on-screen and also because they like to generate their own documents from word (god help me).
They have now come to me with a book design project and have expressed a desire to use Calibri throughout.
Any opinions regarding this will be appreciated.
Thanks for your time.
I picked up a copy of John Mullan's How Novels Work (OUP) in a bookshop, and thought the text face was surprisingly pleasant and readable. I wondered what it was, as none of the Bodoni and other "modern" (in the classification sense) faces I have on my computer really work for sustained text.