high quality of book-making, The Typophile Chap Books are almost unmatched in America. Bennett has fairly complete direction over all these publications. He has scouted for material, decided what would be published, secured the authors or editors, the illustrators, the paper, the printers and binders. The chapbooks are not a business venture. They are issued for the fun of it and are often accompanied by Typophile mono- graphs. With each Chap Book is sent a Commentary written by Paul Bennett. Besides his work with the chapbooks, Bennett, from 1934 to 1935, was Editor of News-Letter, (The American Institute of Graphic Arts). He also edits Books Bookmakers Department, of The Lino type News. He has written numerous articles for trade journals and edited a recent volume entitled Books and Printing: A Treasury for Typophiles, pub lished in 1951 by the World Publishing Company of Cleveland. His column, "The Pi Channel," is a widely-read institutional advertising feature appear- ing regularly in Publisher's Weekly. The column's title derives, he will gaily teil you, from that channel of a Linotype machine reserved for "odd characters." Although Bennett has always been a hard worker, devoting many arduous hours to the art of the printed word, it should not be concluded that he never gets away from it. He's long been a professional football fan and has managed to get in a game on nearly everyone of his Company trips. He's especially fond of the West Coast and thinks their College teams far superior to Eastern ones. He used to see games "rain, snow or blizzard," but now prefers to take them more comfortably at home, via television, because that way "your eye is always on the ball." His other hobby, his first love ("I had it pretty bad"), pertains to a Sport which would seem in no way related to advertising or typography. He likes to watch bicycle races, although some people think bike racing is "the silliest crap in the world." "It's really a European Sport," he expounds, "and it faded out in this country between the wars when immigrants' children got too Americanized for it." Before World War I, says Bennett, bike races were so populär that they drew big stars from Europe for six-day bike races which were "something like a world series." Stars earned annually anywhere from $20,000 to $35,000. Bennett first got interested in the "sprint races" that used to be held in velodromes out in Sheepshead Bay, up in the Bronx and outside Newark. "They got a prize of maybe a $50 check at Bamberger's," says Bennett, but teils how he became so engrossed in the Sport that he used to drive up twice a year to Montreal, Pittsburgh and Philadelphia to follow the big competitions there. He became so well-known to FINE CONTEMPORARY TYPES BY AMERICAN DESIGNERS \mw\mm\muuuvuv V VA VVAVv\\\\\ VVVAVV vvWvVi^ I AIRFIELD. Jn Rmhjfh RmvcIui What does tiie rcadcr. tlut all nnportant l*it oftcn disreg.mlcd person. cxpcct in a type face? Iii Iiis mite m tlic announccmcnt hnoMct 11I Fairficld. tlic designer points out: I Ic cxpcets nulluni; but to be in oplical rate whilc be pursues bis rcading. I Ic tvants 110 Interruption-, of tlic prnccss of following tlic printed thought. From this apparcntly simple Attitüde a liastv deduttion of a raw tlieory of mere Icgibilitv could be made: the less charactcr and indieiduality there is in a type face, the casier it should be to read. Here, hosvever. sve come upon two intcr- relatcd Problems, onc physieal and the other csthctic. problcm of fatigue, and problem of monotony of appvarance. For extensive rcad ing there must be fumished some degree of CALEDONIA, byW.A. Dicigglns The ErroRT that mahirrd into Calcdonin started with a strong liking for the Scoteh Modem face. Thus the designer hegins hii note in the liooklct on Caledonia He con- tinues: That sound. workalile type has served the printing craft for a handred vears. But there are a few featnr« aliout it that are not qulte hapinj. How far could One go towards modifying those featnres withont spoiling the vigor of the face' That was the Start But wliy modify Scoteh? Isn't it good rnough as it staiHls? Well, there was a kind of woodeu heaviness aliout the modeling of some of the original Wilson letters that didn't seem to need to he there. And when you get down to our day. and the design had Sufferrd the changct of mamj recuttingi. the woodenness had become clunuier still-by reason of the 19th Century designer s Obligation to strike all VSV\VH\\\TOVTOV\'TOWi\'i l.inotspc has parallclcd the trend of tlic arts in America todas with thedes ckipmcntofcrcatisc Amer ican design in tt pe and ornament. so that itsarras of traditional face» and decoration tan Ix- augmented ssith original contcmporar\ tje- signs. Iltre are two: I-Airfield. Iis Rudolph Ru/ieka. and Caledonia. I>\ Dwiggins. l or füllspeti- mens of tatlt. as well as the ix« Curasan IX-eorution. just utile- Limits|K'. RriKiklsn. Nest Ytirjt. From the exacting demands of national advertising compo- sition, through the quality requirements of fine book work and the produetion efficiency needed for general commercial printing, Linotype provides economical typography in a size ränge from 4- to 144-point. Check your big red Specimen Book whenever a type Prob lem arises—it's ten to oneyou'll find just the face for your purpose among the 325 faces available in more than 1500 point sizes. Get acquainted with the wealth of unique refer- ence material in the book, too—the figures, fractions, accents, and special characters ofevery conceivable sort. They answer many dijficult Problems. ^^^^======^=====M- LINOTYPE BROOKLYN, NEW YORK A characferistically strong Bennett layout for Dwiggins' Caledonia and Ruzicka's Fairfield. Baiding Bennett caught at his desk in a 1941 Linotype institutional advertisement. 1 4

Print Magazine en | 1953 | | page 16