In the words of Marshall McLuhan, "The Medium is the Message."
To the artist who has found letter forms too outlandish, too conservative or too middle-of-the-road, his words need no further explanation. In this book, edited and expanded for an American audience by Theodore Menten, 110 Complete Alphabets, all in large size, were selected to aid the artist, designer and student in extending his awareness of letter possibilities and in increasing the important letter forms available for his use.
From Albertus to Zeppelin, the editors cover the best in letter design from Great Britain, Europe and the United States. There are eighteenth-century forms still much in use today - Caslon No. 540, Baskerville Old Face, Bodoni Bold, Fry's Ornamented; forms needed in capturing specific historical periods - Breite Egyptienne (1800), Lettres Ornees (1820), Fette Gotisch (1860), Antique No. 5 (1865), Rundgotisch (1903), Basalt (1927), Prisma (1931); and forms that represent the very best in letter design today. There are Augustea Inline, Banco, Bookman, Century Expanded, Craw Modern, Fanfare, Festival, Fortune Light, Futura Black, Mercurius, Michelangelo, Microgramma Extended, News Gothic, Phoebus, Slimblack, Univers 45, Weiss Italic, and many more. With the 110 sets of capital letters there are also 16 complete lower case alphabets and 70 sets of numbers and other symbols. For those who want to know more, the foundry, city, designer and year of design, where available, are also given.
Whether you are still frightened by letter forms or whether you are an enthusiast who enjoys the subtle messages that each of these forms communicates, Lambert and Menten's Letter Forms: 110 Complete Alphabets will give you much for study, for example, and for simply the pleasure of seeing how three centuries of artists have controlled the forms of the alphabet. Like it or not, letter forms do say as much, if not more, than the messages they make up.
First Dover edition 1972, Pb, 110pp, 20.7 x 27.9 cm