![]() ![]() There were also problems with the Admiral typeface: the smallest size in our collection is 24 points which is too big for the illustration titles. We chose this font to print the title of the book and the illustration titles, simply because it reminds us of the font that was used in the first edition of Le Petit Prince. This is a decorative font from our movable type collection that we used on the covers and for the illustration titles. “Since she’s m y rose.” – in the original book, the word ‘my’ was printed in italics. Since this was not an option for us, we had to increase the letter-spacing to emphasize the word.Īnother font used in the book is Admiral (from a German type foundry William Wöllmers). English quotation marks (“…”) and the left single quotation mark (‘… ) are missing. Here the designer worked together with our English editor (Kristopher Rikken) to come up with the best option available: we used guillemets («…») for the dialogue and monologue, and right single quotation marks (’…’) to emphasize some words or mark dialogues within dialogues.There’s no é. We are going to draw the acutes by hand.True Stories in the first chapter) could not be printed in italics as would be the correct way. This means that the monologues or the book titles (i.e. Linotype matrices Freshly casted text linesĪs mentioned before, the matrices were almost perfect so we were forced to follow English grammar more creatively… Basically it’s a copy of Berthold’s typeface Lateinisch. Literaturnaya was designed in the late 1930s for Poligraphmash type foundry. Luckily, there was just one set of matrices (almost) perfect for the book: Literaturnaya bold 10 points. Most of them were either too small, too big or from Cyrillic alphabet. Since we were going to cast the text with a Linotype, the choice was limited to the selection of Linotype matrices in our collection. The big question “What font should we use?” was quickly answered. Read more about the obstacles our designer Mana had to cross while designing the layout for the book. selection of the fonts, line length, type of paper etc. The historic technologies and equipment put limitations to a lot of design choices, i.e. Designing a letterpress printed book is different from designing a book for contemporary book production.
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