Ebook Fifty Type Specimens From the Collection of Tobias Frere-Jones

Ebook Fifty Type Specimens From the Collection of Tobias Frere-Jones

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Fifty Type Specimens From the Collection of Tobias Frere-Jones

Ebook Fifty Type Specimens From the Collection of Tobias Frere-Jones

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Détails sur le produit

Cartes postales: 50 pages

Editeur : Princeton Architectural Press; Édition : Box Pos (1 octobre 2017)

Langue : Anglais

ISBN-10: 1616896442

ISBN-13: 978-1616896447

Dimensions du produit:

11,1 x 3,8 x 15,9 cm

Moyenne des commentaires client :

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Classement des meilleures ventes d'Amazon:

751.999 en Livres (Voir les 100 premiers en Livres)

I’m an avid Postcrosser so had these on pre-order. I filter my opinions on postcard sets as much on mailability than just the topic of the cards. I happen to be fascinated by type, but this is ultimately a mixed bag for me.PACKAGING: The presentation is beautiful. A very sturdy linen-paper slip box holds the 50 cards—complete with divider tabs by country (American, British, French, German). Think: old library card catalog. Nicely done and ideal for gift-giving.VARIETY: Fairly impressive curation with no repeats —many lovely, disparate examples. I prefer the cards that display entire words or alphabets and am less enthused by some of the closeups of just a letter or two (or zoomed-in crops from entire texts). This feels choppy and so these specimens will likely appeal only to the most ardent font freaks. Also, don’t expect a lot of ‘pop’ typeface from last century’s glory years of advertising. The majority here are well over 100 years old (and about 45% aren’t in English).PRINT QUALITY: All the card backgrounds are neutral, eggshell to beige. A few of the images aren’t very sharp. When you consider the original date of the source, you can’t expect that italic sans-serif from 1874 to be perfectly crisp, and, in this over digitalized age, it’s rather refreshing.CARD STOCK: Not the best, well on the flimsy side. Yes, I’ve mailed thinner cards, but publishers seem to forget the rigors of postal sorting equipment. Both sides are a pen-friendly matte.ADDRESS SIDE: My loudest gripe is why the informational blurb is printed at the extreme bottom?! No problem if you’re just collecting rather than mailing, but some blurbs are so lengthy they run all the way to the right, directly under your recipients’ address. Sigh. The bottom edge of all our mail needs a 5/8th blank space. Good luck reading that blurb under the USPS barcoding. A inexplicable flub. There’s no pre-printed address lines or postage field.SIZE: Smaller than typical at approx 5-3/4” x 4” so mailing within the US will only require a postcard rate stamp.Stellar packaging and mainly delightful examples. Stars deducted for the poorly thought out message side and lackluster cardstock.

I thought it would be cooler than it is. The outside packaging is nice. The inside stuff, ehh.

Great product

In classic university fine arts education, it continues to be essential learning for drawing and painting students to study key works of old masters. Close scrutiny of particular techniques, minute details, or thematic parallels led to the attempt of duplication in order to gain a deeper understanding of how the work originated. In that same vein, Tobias Frere-Jones (principal designer of the celebrated Gotham font), shares this collection of type specimens (print presentations of a certain typeface to showcase its design or use) enabling type designers, graphic designers or typophiles of all kinds to understand traditional type design best. Collected over the span of about 25 years, Frere-Jones has shared his favourites from a library of 300+ specimen books going back to the early 19th Century, and represented by 20 countries.Shortlisted to a selection from the United States, Great Britain, France and Germany into single postcards, these are ideal for pinning on a wall for daily inspiration, sharing with others as a typographic treat or treasuring at regular intervals within the confines of a modest box set. These specimens of individual words, sentences, letters, forms and styles allow viewers to delve into an historical time or place in which everything was painstakingly executed by a skilled hand. In other cases, fonts or type foundries were only known by a very select few, or only word of mouth or distribution of printed ephemera proved the worthiness of one’s typographic design endeavours.Some American specimens (particularly the squared super condensed faces) are familiar to well-versed magazine reader, often found in current Conde Nast publications, while other highly decorative ornamental typefaces are seeing the light of day for the first time. Switching over the British set of specimens, I suddenly feel like I’ve seen them on the exterior of historical buildings, period signage or old Chaplin silent films. Speaking of film, the French set transport me to old Jeanne Moreau films, Parisian menus or fashion boutiques. I’m sure you get the picture of the emotive qualities brought forth looking through this collection, provided one has travelled to these destinations, and one has excellent vision (these specimen reproductions are a bit on the small size to fit the publisher's existing postcard sets).Whatever typographic trends, education, experiences or opinions of those scrutinizing these works, the possibilities of what it brings to their sensitivities speaks to each individual with hopefully lasting resonance. What is old is new again, and what is new to the eye, becomes a search for the past and the understanding of what each type style evokes and means.

If you're a type fan and/or a fan of Tobias Frere-Jones, you'll love this postcard set! Each postcard is unique, and altogether it's a gorgeous collection of different type specimens.

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Fifty Type Specimens From the Collection of Tobias Frere-Jones PDF

Fifty Type Specimens From the Collection of Tobias Frere-Jones PDF

Fifty Type Specimens From the Collection of Tobias Frere-Jones PDF

Fifty Type Specimens From the Collection of Tobias Frere-Jones PDF