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The simplest and purest kind of type revival is a facsimile which aims to reproduce as exactly as possible the appearance of a typeface or set of letters from a past contemporary technological format. Each of these sources from books, proofs and ephemera has its advantages and drawbacks. The revival of a metal typeface created before the 1880s is dependent on punches, matrixes, types or printed exemplars. Surviving wood type is often warped or nicked and for graphic designers this has its charm but on designers bent on making a digital revival, these are obstacles. Reviving wood type involves adjusting serifs, crotches, junctures, counters and decorative elements as for example Poplar on page 155 and Pepperwood on page 151. Other type revivals are inspired by letter forms which have never existed as type, such as inscriptions, calligraphy, drawn lettering, handwriting, graffiti and so on. Organised chronologically but not a history of type, typefaces are grouped using venerable classification categories such as Late Victorian Types, Inscriptional Letters, Black Letters like Gutenberg, Venetian Old Style and Aldine types, French Oldstyle types, Dutch, Neoclassical, Fat Faces, Grotesques and Gothics, Geometric Sans Serifs, Scripts and more. Classic examples are designs by John Baskerville, Bodoni, William Caslon, Claude Garamond, Nicolas Jenson and less familiar designers like Eudald Pradell. Updates and revisions to 20th century classics include Palatino, Meridien and Metro. The volume is a visually rich compendium, a typographic history reinvented for use on computers and mobile devices. 100 typefaces and engaging stories, handsomely annotated examples and archival material. Exquisitely produced, 248 large pages, hundreds of examples. Yale University Press, 8" x 10".
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