Tom Wolfe – Radical Chic & Mau-Mauing the Flak Catchers, Farrar Straus & Giroux
2 Comments on “Tom Wolfe – Radical Chic & Mau-Mauing the Flak Catchers, Farrar Straus & Giroux”
Thank you for introducing me to Pat de Groot and her work!
The peculiar use of italic caps with roman lowercase is quite striking. That makes it easy to miss another intervention: All the roman caps in the title were scaled down. One could assume this was motivated by the desire to harmonize the typographic color – the caps in Caslon No. 540 are dark. However, de Groot did a similar thing for the cover of The Brother. The typeface used there, Volta, doesn’t suffer from dark caps, so I have to assume the designer had a preference for smaller caps.
The fancy ampersand for Bauer Bodoni was not just available from American typesetters. It belonged to the standard glyph set of the font as sold by the Bauersche Gießerei in Germany, too.
Detail from an index card by the Bauersche Gießerei. Scan courtesy of Hans Reichardt: Bleisatzschriften des 20. Jahrhunderts. Offenbach: Spatium (2008).