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Counterpunch : Making Type in the 16th Century, Designing Typefaces Now Book

Counterpunch : Making Type in the 16th Century, Designing Typefaces Now
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Counterpunch : Making Type in the 16th Century, Designing Typefaces Now, Counterpunch is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou, Counterpunch : Making Type in the 16th Century, Designing Typefaces Now
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  • Counterpunch : Making Type in the 16th Century, Designing Typefaces Now
  • Written by author Fred Smejjers
  • Published by Hyphen Press, 1996/12/10
  • Counterpunch is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou
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Book Categories

Authors

Preface & acknowledgements 9
1 Why this book? 13
2 Terminology 16
3 The three ways of making letters 19
4 Type: a game of black and white 24
5 Comparing typefaces 33
6 Letters and the Italian intellect 43
7 The place of the punch in type production 55
8 The punchcutter and the historians 56
9 Where does the punchcutter come from? 59
10 The rise and fall of the punchcutter 63
11 Punching and digging 75
12 The delights of steel 83
13 Fournier on punchcutting 87
14 How did they really do it? 115
15 Fixing the image 121
16 Sequence of design and production 123
17 One punch a day? 124
18 Where are the counterpunches? 126
19 Hendrik van den Keere and outlines 128
20 Linearity 133
21 Does technique influence form? 143
22 The unconscious eye 150
23 Punchcutting in the digital age 159
24 Type design and language 165
25 The limits of roman 170
26 Openings and changes 175
Hendrik van den Keere 184
Renard 185
Literature 186
Illustration sources 188
Index 190


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Counterpunch : Making Type in the 16th Century, Designing Typefaces Now, <i>Counterpunch</i> is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou, Counterpunch : Making Type in the 16th Century, Designing Typefaces Now

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Counterpunch : Making Type in the 16th Century, Designing Typefaces Now, <i>Counterpunch</i> is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou, Counterpunch : Making Type in the 16th Century, Designing Typefaces Now

Counterpunch : Making Type in the 16th Century, Designing Typefaces Now

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Counterpunch : Making Type in the 16th Century, Designing Typefaces Now, <i>Counterpunch</i> is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou, Counterpunch : Making Type in the 16th Century, Designing Typefaces Now

Counterpunch : Making Type in the 16th Century, Designing Typefaces Now

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