Week 5 B -Graphics, Typography & Package Design
Week Ten Graphics, Typography & Package Design
2. Apprentice Typesetter, Edmonton Bulletin, Edmonton, Alberta, 1904
2.18. Typography (ie) 61
A Subtle and Quite Dicernible Difference
Frank Davies, MTDC
They are better--even the mediocre books are better and the bad books look worse and worse by contrast. As for the best, they are really excellent. It has been very gratifying to anyone aware of the value of well-designed books to follow the book sections of the annual typographic exhibitons. Each year has shown a subtle but quite discernible difference.
The first show, in 1958, had very few books that were consistently good from jacket through case and prelims to text pages; the extended decoration through prelims that was to be so strong later had just begun to appear. The jury that year deplored 'the publisher who got into design act, the printer who couldn't run ink evenly, the binder who ran his folder so fast that not two margins were the same', and on the evidence before them this was just, though very unpopular criticism. 1959 saw a sudden self-consciousness. It was as if the designer, finding his voice was being heard for the first time, had rushed off to take elocution lessons so that he could e-nun-ci-ate un-for-get-tably....1960 showed more maturity and confidence. The Canadian book was recognized abroad 'for its interesting format'. A few designers now dominated and their individual approaches were clearly apparent. Text books were generally depressingly bad, though earlier there had been signs of hope. Now, in 1961, the gimmicks are gone. Text-books still languish. The work of two men dominates: Robert Reid of Vancouver, both for his own designs and for the wonderful work his students are producing; and Frank Newfeld of Toronto. Their books are a joy...And what of 1962? Our book industry is striding foward and we must wait, eager and patient, to see what happens next."