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
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
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.