Letters of Credit. A View of Type Design

Beskrivning

Gordon Fraser, London. 1986. First edition. 223 pages. Small 4to (25,3 x 18 cm). Dark blue cloth stamped in blind with gilt decoration to spine, dust jacket with a short tear at bottom of front cover, otherwise in great condition. Numerous letter sample illustrations.  

Divided in two sections ”Aspects of type design” is about the anatomy of the letter in aesthetic and practical aspects. A very important text for all type designers.

”Some designers and their types”, Walter Tracy analyze famous type designers and their type faces: Jan van Krimpen, Frederic Goudy, Rudolf Koch, W. A. Dwiggins and Stanley Morisons Times Roman.

A classic book on the construction of letterforms and typefaces. The book includes historical information on each of the type families and designers it examines. The chapter that discusses the correct spacing of letters is a classic. Highly recommended to anyone with a strong interest in typeface design.

The revolution in typesetting – a revolution that over the past two decades has eliminated a five-hundred-year-old system of hot metal production and replaced it with one of photo-generated and computer-driven composition – shows no sign of winding down. This book, more than any other we know, traces the steps that went into that revolution and simultaneously makes the argument that the letter forms themselves are in process of evolution. Tracy argues that, whether they are of the sixteenth or the twentieth century, the forms that comprise our alphabet are subject to the same rules of good taste, proportion, and clarity that have always obtained. But what we face today is vastly different from fifty years ago. For the first time, new technology has made the proliferation (and, as some would maintain, debasement) of letter forms fast and easy (or quick and dirty.) With fifty years of professional experience on both sides of the Atlantic (including thirty years as head of type design for the British Linotype Company), Tracy is in a unique position to make this argument and arrive at his sad conclusion: the design of distinguished, contemporary typefaces is far outnumbered by the mediocre and downright bad. Part of the reason for this deplorable deterioration is a lack of critical analysis of the particular esthetics involved. This step-by-step examination of type-design esthetics is precisely what Tracy provides here, while avoiding both the promoter’s hype and the manufacturer’s claims. Here are the gut issues of what makes type good or bad, legible or unreadable. Extensively illustrated with both typefaces and line drawings, this book belongs on the shelf of anyone interested in the history of letters or in the artistry and peculiar problems that lie behind their production.

Walter Tracy (1914–1995) is acknowledged as a distinguished English type designer, recognized for his significant contributions to the field. The text highlights his transition to Linotype in the 1950s, where he played a key role in groundbreaking projects, including the design of the Times New Roman and the Times newspaper. Tracy’s work is characterized by a profound understanding of readability and aesthetic balance, with a focus on clarity in typefaces.

Beyond design, Tracy authored influential works such as “Letters of Credit” and “The Typographic Scene”. His dedication to typographic education is noted, as he taught at the Royal College of Art and contributed to the development of the Typographic Design program.

Walter Tracy’s exceptional contributions earned him numerous accolades, including the prestigious Royal Designer for Industry award. His lasting legacy in the world of typography continues to influence subsequent generations of type designers, securing him a significant place in the history of British design. The book is a neat copy, featuring book design by Peter Guy.