Free PDF The Eternal Letter: Two Millennia of the Classical Roman Capital (Codex Studies in Letterforms)From The MIT Press
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The fiftieth anniversary of Helvetica, the most famous of all sans serif typefaces, was celebrated with an excitement unusual in the staid world of typography and culminated in the release of the first movie ever made starring a typeface. Yet Helvetica's fifty-year milestone pales in comparison with the two thousandth anniversary in 2014 of Trajan's Column and its famous inscription -- the preeminent illustration of the classical Roman capital letter. For, despite the modern ascendance of the sans serif, serif typefaces, most notably Times Roman, still dominate printed matter and retain a strong presence in screen-based communication. The Eternal Letter is a lavishly illustrated examination of the enduring influence of, and many variations on, the classical Roman capital letter.
The Eternal Letter offers a series of essays by some of the most highly regarded practitioners in the fields of typography, lettering, and stone carving. They discuss the subtleties of the classical Roman capital letter itself, different iterations of it over the years, and the work of famous typographers and craftsmen. The essays cover such topics as efforts to calculate a geometric formulation of the Trajan letters; the recalculation of their proportions by early typefounders; the development and astonishing popularity of Adobe Trajan; type and letter designs by Father Edward M. Catich, Frederic W. Goudy, Eric Gill, Jan van Krimpen, Hermann Zapf, Matthew Carter, and others; the influence of Trajan in Russia; and three generations of lettercarvers at the John Stevens Shop in Newport, Rhode Island. Essays about modern typefaces -- including Matinia, Senatus, and Penumbra -- are contributed by the designers of these typefaces.
Contributors John and Nicholas Benson, Frank E. Blokland, Matthew Carter, Ewan Clayton, Lance Hidy, Jost Hochuli, Jonathan Hoefler, Richard Kindersley, Scott-Martin Kosofsky, Gerry Leonidas, Martin Majoor, Steve Matteson, Gregory MacNaughton, James Mosley, Tom Perkins, Yves Peters, Ryan L. Roth, Werner Schneider, Paul Shaw, Julian Waters, Maxim Zhukov
- Sales Rank: #1012312 in Books
- Published on: 2015-01-30
- Original language: English
- Number of items: 1
- Dimensions: 11.80" h x .70" w x 9.40" l, .0 pounds
- Binding: Hardcover
- 270 pages
Review
This remarkable volume is the most comprehensive, most thoughtful, and most entertaining examination of a single set of letters I've ever read. The very notion that 1,900-year-old letters will be used to advertise a blockbuster at your local multiplex next weekend is astonishing, and is testimony to the enduring power of the classical Roman capital.
(Michael Bierut, partner, Pentagram; author, Seventy-Nine Short Essays on Design)The Roman capitals are the true test that type designers will ignore at their peril. This volume sets the standard for all books that will ever be written on the topic. What an amazing resource! So much research, knowledge, and love have gone into it. It will be on the top of my desk from now on. If I had to read The Eternal Letter forty years ago, I might have been too scared to begin trying to design type.
(Erik Spiekermann, type designer; author, Stop Stealing Sheep)The Eternal Letter addresses at length the subject of the Trajan letter, its imitators, and its sometimes wayward progeny. It is written by a team of acknowledged experts and superbly illustrated. Every spread is a delight and a revelation.
(Sebastian Carter, author, Twentieth Century Type Designers)This long-awaited publication is all that I hoped it would be: extremely well-researched and illustrated, beautifully designed, and like the classical Roman letter itself, able to stand the test of time.
(Peter Bil'ak, founder, Typotheque)This beautifully designed book traces the Roman capital and its progeny, shown in more than 400 full-color illustrations including Latin inscriptions, calligraphic interpretations, and modern incarnations on advertisements and movie posters. Full of essays by practitioners of typography and lettering, "The Eternal Letter" is richly detailed and visually captivating, offering a comprehensive examination -- from stone carving to computer pixilation -- of the classical Roman capital and its eternal power.
(Boston Globe) About the Author
Paul Shaw, an award-winning graphic designer, typographer, and calligrapher in New York City, teaches at Parsons School of Design and the School of Visual Arts. The designer or codesigner of eighteen typefaces, he is the coauthor of Blackletter: Type and National Identity and the author of Helvetica and the New York City Subway System (MIT Press). He writes about letter design in the blog Blue Pencil.
Most helpful customer reviews
11 of 12 people found the following review helpful.
A Feast
By tlink
This book, edited by Paul Shaw and beautifully designed by Linda Florio, is a feast visually and historically. Despite one's resolve to start at the beginning and move through the serving line sequentially, it is impossible not to explore what's being offered on other pages. With contributions by Matthew Carter, Lance Hidy, Frank Blokland, Ewan Clayton and others, there is so much to be tempted by. One comes across a stunning full page black-and-white photograph of Father Edward M. Catich standing near the top two rungs of a wooden ladder, leaning out, reaching over, making rubbings of the Trajan Inscription; a frozen moment in time. It's almost as though Father Catich is anointing the Holy Grail. And that's just one page! The Eternal Letter has 260 pages in all, and on another you'll find a meaty serving of types and calligraphy by Hermann Zapf and on yet another a lavish presentation of the calligraphic virtuosity of John Stevens.
The Eternal Letter provides an historic context for a letterform that, for over 2000 years, has not only endured, but ultimately prevailed in a day and age when fonts are spewed out daily like cat litters. The book is rich with pictorial examples and insightful commentary about the eternal Roman majuscule and its offshoots, which range in application from stone to ink to pixels. Shaw's editing and scholarship is impeccable and surely cements his credentials as one of the world's leading authorities on the subject. This book is a must for the library of anyone interested in the expressive qualities of great calligraphy and typography.
Thomas Lincoln, designer
2 of 2 people found the following review helpful.
Infinitely illuminating
By M. Bartolucci
It sounds like the literary equivalent of a soporific: a book of essays on the two millennia history of the classical Roman letterform. But this gorgeously designed tome could not be more intellectually stimulating or visually delightful. For a non-designer like myself, it has been an engrossing read, mixing history with typographic lore and marvelous personalities, like the maverick Father Catich, whose discovery was worth the book price alone.
3 of 4 people found the following review helpful.
Seeing Is Believing
By John McEveety Woodruff
One of the finer moments in intellectual life is the pleasant surprise that comes with the discovery of a completely established discipline, which up until that moment has run under the radar. I am referring to the practice, the study, the art of the construction of the simple letter, and in the present case, the Roman capital letter, so thoroughly explored in The Eternal Letter, MIT, 2015. In the 10th edition of Webster’s we come to precisely the book’s subject in the second section of the fifth definition for the word “letter”: “a style of type”, emphasis on “style”, because the story told here begins one and a half millennia before type. In general the book is a rich compendium of essays by experts (ed. Paul Shaw) on the development and history of the Roman capital letter, starting with the chiseled letters on Trajan’s famous column (still considered by many the tabula rasa for capitals) and running through the ages up to at least twenty feature films’ poster copy for 2014.
A large part of the volume’s effective presentation is how it employs graphics. There are hundreds of them, and each one is cited within a particular text of an accompanying essay. Referring to the book’s masthead for the credits, we see that the book has a graphic designer, Linda Florio. The careful way the pages are laid out gives the feel of experiencing a well-displayed exhaustive exhibit in a museum without being exhausting.
Before The Eternal Letter came to my attention, I had already some knowledge of this niche world of “lettering”. My wife is an artist and she has worked on a couple of projects in the “book arts” arena. I have been to openings at the Grolier Club with her, a most rarefied atmosphere. And while their focus is on the book as object, lettering, illustration, layout all come into it. I am a writer of prose fiction, so of course all of this is part of my daily life, even though until now I haven’t really paid much attention. I have noticed in the last decade or so on the final page of certain published works a paragraph devoted to the typeface used. At the launching of The Eternal Letter, the passion and excitement from the presenters was engaging. At the end of his comments, Paul Shaw insisted how this history of the Roman capital was just a beginning. I hope so. Mr. Shaw then waxed eloquent on one of his favorite fonts, Optima. Curiosity peaked, recently I wrote a letter to a friend in Louisiana and scrolled to it in my Word doc. With a little hesitancy, slightly apprehensive I might be accused of treachery, I changed to the font from Times New Roman. When finished I looked at the page and felt I could see what Mr. Shaw was talking about. There’s an elegant balanced spareness to it, a kind of gracefulness… I guess I’m infected.
The good news is that in this era when even the simplest teaching of cursive handwriting is disappearing from the classroom, we have folks over the moon for the way letters were designed in the time of the Caesars. Hope springs Eternal.
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