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Paper Should Not Always Be White
Vancouver: Heavenly Monkey. Fine+. 2013. First Edition. 1/4 Leather. The edition was limited by the most scarce of the papers to a total of 30 copies. The text is set in Caslon and Scotch Roman (faces mentioned in the text) , with Monument for display. Issued in two states, with bindings by Claudia Cohen. The standard copies, numbered 11–30 were bound in a quarter leather, millimeter-style binding (the leather extending in a thin strip along the top and bottom edges of the boards), with Eva Van Bruegel's hand-marbled paper over boards. The book includes a two-page preface, explaining the intent of the experiment. Each of the sample papers is a book folio, with the mill's name (and the type of paper, if known) printed on the first recto, followed by the extract from Updike's essay on the second recto. The first verso of each paper is adorned with a simple pattern made from ornaments and flowers (different for each sheet). The second verso is blank. All of the papers, except the one Japanese sample, were printed damp; The concept behind this book has been kicking around for several years: printing the same text on a series of different papers, to illustrate how a paper’s color, tone and texture affect the look of the type. It’s something Heavenly Monkey touched on in the deluxe version of Types/Paper/Print, but that had only three different papers: this book reprints the same page of text, an extract of Daniel Berkeley Updike’s essay “The Seven Champions of Typography”, on 15 different papers .
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Last Found On: 2013-11-13           Check availability:      Biblio    


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