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Language Culture Type grew out of the first international type-design competition, the 2001 bukva:raz!, whose goal was to promote global cultural pluralism, interaction, and diversity in typographic communications as part of the United Nations Year of Dialog among Civilizations. The book lavishly presents the winning entries, along with information about each typeface, its language, and its designer. A series of essays gives context for the interplay of types and languages in the world today including the attempt to mesh all existing scripts into a single digital encoding system called Unicode. It also delves into the specific issues around developing typefaces for the many linguistic cultures in the world, from the various Cyrillic letterforms to Vietnams ancient ideographic script.Read more...
"The text of the essays has been set in 11-point Fenway, a typeface designed by Matthew Carter in 1998 for Sports Illustrated magazine. The design of Fenway was inspired by the types of two illustrious punchcutters who worked for the Enschedé Type Foundry at Harlem in the Netherlands: Johann Michael Fleischmann (1701-1768) and Jean Francois Rosart (1714-1774). The custom version of Fenway used in this book was developed in OpenType format, by John Hudson of Tiro Typeworks, Vancouver, BC. Fenway's character set was significantly expanded to accommodate the numerous special sorts necessary for the typesetting of this book -- many of these additions to the original font complement were created by the originator of Fenway, Matthew Carter, at the request of the book production team. Fonts belonging to the Vincent family - Vincent Medium, Vincent Display, and Vincent Banner Drop - have been used for all display elements in this book's essay section, its front and back matter (for larger size headings, titles, initial capitals), and also its cover. Vincent, designed by Matthew Carter in 1996 was first used in Newsweek magazine in 1999. Vincent's design is based on early type of Vincent Figgins (1776-1844), an English punchcutter whose foundry remained in operation until 1908. PT New Letter Gothic has been used for the typesetting of the text and headings in the bukva:raz! section of this book. PT New Letter Gothic was designed by Gayanch Bagdasaryan for Para-Type, Moscow, in 1999. Its design is based on Letter Gothic, a typeface originally developed by Roger Robertson in 1956-1962 as a single-weight, monospaced font for IBM electric typewriters. PT New Letter Gothic comes in two versions: Latin and Cyrillic"--Colophon.
Description:
ix, 373 pages : illustrations (some color) ; 31 cm
Contents:
Foreword / Mark Batty --
Preface / John D. Berry --
Language culture type. Voices, language, and scripts around the globe / Robert Bringhurst --
Unicode, from text to type / John Hudson --
ITC Cyrillics, 1992 / Maxim Zhukov --
How do the Japanese read? / Akira Kobayashi --
An approach to non-Latin type design / Fiona Ross --
A primer on Greek type design / Gerry Leonidas --
Zvi Narkiss and Hebrew type design / Misha Beletsky --
Type ramblings from Afrika / Saki Mafundikwa --
Arabic script and typography / Thomas Milo --
Civil type and Kis Cyrillic / Vladimir Yefimov --
Pickled herring and strawberry ice cream / Adam Twardoch --
Bukva:raz! United Nations year of dialogue among civilizations --
Association Typographique Internationale (ATypI) --
Sponsors of bukva:raz! --
Letter from Giandomenico Picco, United Nations --
Rules of the competition --
Wherefore bukva:raz!? / Maxim Zhukov --
Jury --
Tribute to Henrik Mnatsakanyan, 1923-2001 --
Pictures from a competition / John D. Berry --
The winners of bukva:raz! --
Type showings : the winning typefaces from bukva:raz!
Other Titles:
International type design in the age of unicode
Responsibility:
edited by John D. Berry ; with a special section showing the winners in Bukva:Raz!, the type design competition of the Association typographique internationale.
Abstract:
Language Culture Type grew out of the first international type-design competition, the 2001 bukva:raz!, whose goal was to promote global cultural pluralism, interaction, and diversity in typographic communications as part of the United Nations Year of Dialog among Civilizations. The book lavishly presents the winning entries, along with information about each typeface, its language, and its designer. A series of essays gives context for the interplay of types and languages in the world today including the attempt to mesh all existing scripts into a single digital encoding system called Unicode. It also delves into the specific issues around developing typefaces for the many linguistic cultures in the world, from the various Cyrillic letterforms to Vietnams ancient ideographic script.
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History, language and culture are the correct insight to the identity of human beings. Seldom we found a grass-root level investigation into the interconnection of culture and language, but, we would rather forget the importance of language in the cultural diversity."Language Culture Type", gives an... Read more...
History, language and culture are the correct insight to the identity of human beings. Seldom we found a grass-root level investigation into the interconnection of culture and language, but, we would rather forget the importance of language in the cultural diversity."Language Culture Type", gives an intersting explanation of the origin and development of language and the culture that related to it. Most impressing idea in this book is that it tries to keep the diversity in the age of "unicode" and "globalization".An intersting book must read by all.
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