The Artist and His Critic Stripped Bare
A nicely topical type choice for The Artist and His Critic Stripped Bare, an edition of the correspondence of Marcel Duchamp and Robert Lebel. Nina Stössinger based her Sélavy (2013) on the thirteen punched-out caps on Marcel Duchamp’s Green Box from 1934.
Designer Catherine Lorenz used the dotted typeface for all text on the cover. The center-aligned lines are set in four sizes of Sélavy. Knowing Nina and her attention for detail, I can imagine she now wishes she made optical variants, so that all lines could have the same dot size.
The book was edited and translated by Paul B. Franklin, with a foreword by Jean-Jacques Lebel, and published in a bilingual edition (English and French) by Getty Publications. The interior (not pictured) is set in Minion and Gotham.
See also Sélavy in use for Playing with Earth and Sky: Astronomy, Geography, and the Art of Marcel Duchamp (Dartmouth College Press, July 2016).
Frontispiece and title page.
![<cite>The X-files [Registry of the Nineties]</cite>](https://assets.fontsinuse.com/static/use-media-items/82/81139/thumb/5c38b7ee/30%20b.jpeg "<cite>The X-files [Registry of the Nineties]</cite>")
2 Comments on “The Artist and His Critic Stripped Bare ”
Nina released the source files as well. By adjusting the Base Dot glyph, it wouldn’t be too hard to make optical variants…
That’s true! The virtues of open-source fonts. For fully satisfying results, one would have to adjust the number of dots as well – more for large sizes, less for smaller ones.