Shaping the World by Antony Gormley and Martin Gayford
Contributed by Gareth Hague on Sep 27th, 2021. Artwork published in
.
Source: thamesandhudsonusa.com License: All Rights Reserved.
From Thames & Hudson:
In this wide-ranging book, two complementary voices – one belonging to an artist who looks to Asian and Buddhist traditions as much as to Western sculptural history, the other to a critic and historian – consider how sculpture has been central to the evolution of our potential for thinking and feeling. Sculpture cannot be seen in isolation as an aesthetic pursuit; it is related to humankind’s compelling urge to make its mark on the landscape, to build, make pictures, practise religion and develop philosophical thought.
Jude is used for titles and headline type. The serif used for the running text is Carat; the sans serif on the cover is Caslon’s Egyptian [see comments].
Source: www.amazon.co.uk License: All Rights Reserved.
Source: thamesandhudsonusa.com License: All Rights Reserved.
Source: www.amazon.co.uk License: All Rights Reserved.
Source: thamesandhudsonusa.com License: All Rights Reserved.
Source: www.amazon.co.uk License: All Rights Reserved.
Source: thamesandhudsonusa.com License: All Rights Reserved.
5 Comments on “Shaping the World by Antony Gormley and Martin Gayford”
The sans: Caslon’s Egyptian?
The G is different to that cut of Caslon — no cross bar on the G
I should’ve added: there’s an alternate G.
Good sleuthing, p-k! I think you nailed it. The presentation on the old Font Bureau website makes it look like the G with bar was the default form once. It’s shown as an alternate on Type Network.
I don’t want to be a lobbyist, but I have to make one thing clear, absolutely clear: I know all the main typeface designers semi-personally. Semi-personal means I’m in constant contact with them online. And they tell me a lot of farces about their private lives. As far as Dieter is concerned, he is massively underestimated, his fonts are almost criminally neglected. My advice to publishers is not to constantly follow trends, but also not to use familiar fonts all the time:
sets trends!
And help designers like Hofrichter get their well-deserved reward for their work! If you examine his letters closely, you will find that they are not only legible, but also among the most well-formed in larger sizes. And I’ve found fewer errors in his fonts than in all sorts of fonts from Monotype and Co that one can see everywhere for years. In addition, he fixed all errors immediately, which at Monotype is a matter of months, often even years, if they care at all To take care of.