McKitterick, David. “Bruce Rogers at Cambridge, 1917–19.” Book Collector 29 (Summer, 1980): 208–38.
[LC] Z990.B6 — [Folger]
MacCarthy, Fiona. Eric Gill. London: Faber & Faber, 1989.
- Reviews: Barbara Grizzuti Harrison, “Perversity Raised to a Principle,” New York Times Book Review, 7 May 1989, pp. 11–12; Robert Gilliam, “Eric Gill: Another Version,” Commonweal 116 (14 July 1989): 404–05; Fernand Baudin, “Eric Gill: A Lover’s Quest for Art and God,” Fine Print 15 (October 1989): 201–03; Broacard Sewell, Matrix, 9 (Winter, 1989): 187–93.
MacCarthy, Fiona. All Things Bright and Beautiful: Design in Britain, 1830 to Today. Toronto: University of Toronto Press, 1973.
Lowry, Martin. Nicholas Jenson and the Rise of Venetian Publishing in Renaissance Europe. Oxford: Blackwell, 1991.
- Description: This book tells the story of how printing came to Venice, and how the most commercially advanced power in 15th century Europe exploited the new invention to disseminate the scholarship of the Renaissance. Within forty years of Gutenberg’s invention, and despite having no tradition in printing, Venice had become responsible for nearly twenty percent of books published in Europe, and had almost driven the German pioneers out of the upper levels of the market. The early chapters examine the values and careers of the men who backed the first printers. Martin Lowry’s attention then turns to the printers themselves, particularly to the Frenchman Nicholas Jenson, the most influential publisher and printer of the age. The author analyses Jenson’s design techniques and his quest for customers and describes the uneasy transition from manuscript to printed page. Today, venetian typefaces of the 1470s remain the basic currency of learning.
Loxley, Simon. Type: The Secret History of Letters. London: I. B. Tauris, 2004.
- Contents: Sine qua non. The naked letter:the anatomy of type. Introduction. The adventure and the art: the obscure origins of a revolution — Dynasty: in which William Caslon makes Britain the type centre of the world — Garamuddle: when is a sixteenth-century typeface not a sixteenth-century typeface? — The maverick tendency: the type and strange afterlife of John Baskerville — Detour Meltdown: a stroll around a fallen giant — ‘Hideous Italians’: thicks, thins, and the rise of advertising type — American spring: creating the modern age — An awful beauty: the private press movement — Under fire: Frederic Goudy, type star — Detour Typecast: on the trail of the metal fanatics — Going Underground: Edward Johnston’s letters for London — The doves and the serpent: Stanley Morison and the Wardes — Dangerous passions: radical European typography in the inter-war years — Leper messiah: Gill semi-light, Gill heavy — Europe after the rain: rebirth and twilight — Detour Portable serenity: the precision and the passion of the letter cutter — Two ghosts: forgotten technologies from the dustbin of history — Motorway madness: David Kindersley and the great road sign ruckus — A company man: Herb Lubalin and the International Typeface Corporation — The twenty-six soldiers: fiddling with the format — New gods: Neville Brody and the designer decade — Revolution again: liberating the letter — Detour Inside the micro-foundry: twenty-first-century type — Typocalypse.
Jacobi, Charles T. “The Title-Page of Today.” Printing Art 5 (March 1905): 13.
- [LC] Z119 .P954 — [SB] — [BL] PP.1622.BFD
Butcher, David. “‘A Shout to the Elated’: Twentieth-Century Types and Designers.” Matrix 7 (Winter, 1987): 159–63.