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How about one of these?An Annotated Bibliography of Typography, Letterpress Printing and Other Arts of the Bookby David S. Rose • Five Roses PressThe explosion of desktop-based, digital pre-press technology at the end of the twentieth century brought to a wide audience the previously specialized world of typography. Modern type design applications give users the ability to create new digital typefaces from the imagination, to recreate classic faces that are otherwise unavailable in digital form, and to adapt existing faces for specific needs.For those artisans who still hand-set and print with traditional letterpress technology, a dozen type foundries continue to provide a constant stream of classic metal faces. And for designers who combine the two worlds by printing letterpress from photopolymer plates, the options are unlimited.As with any powerful tools, the more one knows of the history behind them, the better able one will be to utilize them. The books listed here are just a few of hundreds that have been written on the subject of typography over three centuries, but they will provide a solid start for reading in this area.While many of the works listed are classics in the field, not all of them are currently in print. Those that are not available from the publisher (or from reprint houses such as Dover Publications) may often be found at antiquarian dealers who specialize in the field of Books about Books. A number of such dealers are listed at the end of this bibliography, and the rapid adoption of the Internet by antiquarian book dealers now means that most of these books are a simple click away.Overviews of Printing TypesPrinting Types: An Introduction by Alexander Lawson with Dwight Agner [Boston: Beacon Press, 1990] is a short (120 pages) easy-to-read overview that is exactly as advertised: an introduction. For over thirty years, Lawson has taught a course in the history of printing types at the Rochester Institute of Technology School of Printing, and this book grew out of his need for a simple handbook on the subject for his students. It is a well designed and illustrated inexpensive paperback, and would probably be your best bet if you have a casual interest in the subject and only want to read one book. The latest edition, brought current through 1990, covers electronic typography as well.Printing Types: Their History, Forms, and Use by Daniel Berkeley Updike (1860-1941) [New York: Dover, 1980 reprint of the second (1937) edition]. This is the classic work in the field of typographic history. Updike was a leader in the revival of traditional printing typefaces in the United States, and was the founder of the Merrymount Press (1893). A series of lectures he gave at Harvard from 1910-1917 served as the basis for Printing Types, which was first published in 1922. This Dover reprint is in two volumes, 618 pages of text plus 300 unnumbered illustrations. As Dover says in the jacket notes, "Printing Types presents the standards, the landmarks in typography that anyone connected with printing must know. In its mammoth, illustrated coverage, it is without a doubt the definitive guide to the subject.Letters of Credit: A View of Type Design by Walter Tracy [Boston: David Godine, 1986. 224 p, ill.] A beautiful and profusely illustrated step-by-step demonstration of type-design aesthetics that traces the beginnings and the path of modern-day typesetting.Fine print on type; the best of Fine print magazine on type and typography by Charles A. Bigelow, Paul Hayden Duensing, Linnea Gentry [San Francisco: Fine Print: Bedford Arts, 1988] is an excellent selection of articles from Fine Print magazine, the late indispensable periodical with which anyone concerned with type should be familiar. Each issue was designed by a different typographer, printed by letterpress and included scholarly articles, typographic overviews, reviews, and notices of new books on typography. Fine Print was published quarterly through about 1990, after which the publication led cliff-hanging existence as various groups and institutions tried to save it. While long gone, a final retrospective index is currently nearing production, and will also be a must-get.Typographical periodicals between the wars; a critique of the Fleuron, Signature, and Typography by Grant Shipcott [Oxford: Oxford Polytechnic Press, 1980. xiv, 111 p. :ill.]. These classic periodicals (particularly the Fleuron) were to their time what Fine Print was to typography and book design today, but because of the ferment in the world of design during the 20s and 30s and because of their illustrious contributors, they had a much greater effect on the typography of the time.Type and Typefaces by J. Ben Lieberman [New Rochelle: The Myriade Press, 1978] is an alternative to the Lawson book, but rather less accurate, bigger (142 pages, 8 1/2 x 11, hardcover) and harder to find. Ben Lieberman was an enthusiastic amateur printer and the father of the American Chappel movement of hobby printers. This book is an exuberant look at the history, classification, identification, and personalities of typography. It includes examples of over 1,000 type faces, and is well illustrated. Lieberman was not a scholar, but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission.History and Development of Lettering and Letter formsThe 26 Letters by Oscar Ogg [New York: Thomas Y. Crowell, 1948]. A nicely done book by a well known American calligrapher, tracing the evolution of the alphabet from prehistoric times to the invention of printing. 250 pages, well illustrated.Letters by James Hutchinson [New York: Van Nostrand Reinhold, 1983]. A stylishly designed, very readable history of alphabets, writing, and printing types.The History and Technique of Lettering by Alexander Nesbitt [New York: Dover Publications, 1957]. A thorough history of type design from its origin through the mid-twentieth century, this book covers some of the same material as the Ogg book, but includes much more information on the development of letter forms since the invention of printing. It is written from an artist's perspective, and has a how-to section on lettering.The Alphabet and Elements of Lettering by Frederic W. Goudy [New York: Dover Publications, 1963. Reprint of 1952 University of California edition]. This falls somewhere between the Ogg and Nesbitt books, from Goudy's unique perspective as the most prolific type designer of the twentieth century.Roman Lettering by L.C. Evetts [New York: Taplinger, 1979] includes a character-by-character analysis of the letters on Trajans Column in Rome, which have served for centuries as one of the foundations of roman (serif) letter design. Evetts also includes charts showing the evolution of the roman alphabet through the centuries. Handsome lettering, with little text to clutter the presentation.An ABC Book: ABC of Lettering and Printing Types by Erik Lindegren [New York: Pentalic, nd ca. 1976]. A survey of type, calligraphy, and design, with examples of work from all periods, with an especially strong representation of lettering by Swedish, English, German, and American scribes and designers. A lively, well-designed introduction to letters.Writing, Illuminating and Lettering by Edward Johnston [New York: Taplinger, 1980]. The comprehensive calligraphy manual by the man who led the twentieth century revival of calligraphy. Johnston's influence on English, American and German lettering and design was immense.History of Lettering by Nicolete Gray [Boston: David Godine, 1987. 256 p].Type Designs from Various PeriodsArt of the Printed Book, 1455-1955; masterpieces of typography through five centuries from the collections of the Pierpont Morgan Library, New York by Joseph Blumenthal, (1897- ) [New York: Pierpont Morgan Library; 1984. Boston, MA: D.R. Godine, xiv, 192 p. : ill.]. Available both in hardcover and paperback, this collection by one of the great printer/scholars of the century is a must have for anyone interested in original source material. More than a hundred full pages facsimiles from the Morgan Library provide an instant overview of the development of typographic design from Gutenberg to the mid-twentieth century.Anatomy of a Typeface by Alexander Lawson [Boston: David R. Godine, 1990, 428 pages] A great book from one of the leading typographic experts of the late twentieth century, this substantial work examines a wide variety of typefaces in great detail, and explains why they look the way they do. An excellent reference work for the designer and printer that will both improve your eye for the detail of font design and inform the choices you will make in specifying and setting type yourself.Selected Essays on Books and Printing by A. F. Johnson [Amsterdam: Van Gendt, 1970]. Johnson was a scholar at the British Museum, and along with Daniel Berkeley Updike and Stanley Morrison was considered one of the experts in the field of typographic history. This lovely, massive (500 pages), and very expensive collection of some of his writings from 1927-1957 concentrates primarily on the typographic work of sixteenth century calligraphers and printers.A view of early typography up to about 1600 by Harry Carter [(The Lyell lectures 1968) Oxford, Clarendon P., 1969. xii, 137 p. 45 plates. illus., facsims., col. map].A history of the old English letter foundries; with notes, historical and bibliographical, on the rise and fall of English typography by Talbot Baines Reed, 1852-1893 and A. F. Johnson [Folkestone: Dawsons, Reissued 1974 xiv, 400 p., fold. leaf : ill., facsims].Notes on a Century of Typography at the University Press, Oxford, 1693-1794 by Horace Hart [Oxford, Clarendon Press, Reissued 1970 (1st ed. of 1900 reprinted) with an introduction and additional notes by Harry Carter. ix, 16, xvi, 203 p., plate. illus. facsims]. History of the types and typography of the Oxford University Press, generally regarded as the preeminent scholarly press in the western world.Nineteenth Century Ornamented Type Faces by Nicolete Gray [Berkeley: University of California Press, 1976]. Reprint of a classic from 1938, this large format 240 page work is the definitive book on its subject.American Wood Type, 1828-1900 by Rob Roy Kelly [New York: Da Capo Press]. Notes on the evolution of decorated and large wood types, and comments on related trades. As with the Nicolete Gray book, this is the definitive work in its field. The book was issued in several editions, of which this (paperback) is the least expensive.The Typographic Book 1450-1935 by Stanley Morrison and Kenneth Day [Chicago: University of Chicago Press, 1963]. A lush, expensive, visual treasury of almost 500 years of typography, including 357 plates.American typography today by Rob Carter [(New York: Van Nostrand Reinhold, 1989. 159 p. : ill. (some col.)].The Liberated Page Edited by Herbert Spencer [San Francisco: Bedford Arts, 1987]. An anthology of the major typographic experiments of the 20th century, as recorded in Typographica magazine.TypographyA Typographic Workbook: A Primer to History, Techniques, and Artistry by Kate Clair. A good place to start for a basic grounding in typographic design.The Elements of Typographic Style by Robert Bringhurst. A highly acclaimed, although somewhat more advanced, standard work in the field.The Crystal Goblet; sixteen essays on typography by Beatrice Warde [Cleveland and New York: World Publishing Company, 1956]. From a major woman in the field of typography come some thought-provoking pieces, including the famous analogy that gave the collection its name. Mandatory reading for would-be typographers.The Case for Legibility by John Ryder [London: The Bodley Head, 1979] "Not a typographer's manual nor a 'do-it-yourself' guide to book design, it is a personal statement of great sincerity and conviction by a distinguished practitioner of the art." Ryder also wrote “Printing For Pleasure”, one of the touchstones of the avocational letterpress printing movement.Better Type by Betty Binns [New York: Watson-Guptill, 1989. 192 p]. A trade book from the early days of the desktop publishing revolution that shows by copious examples the subtle differences in relationships between typefaces, letters, and spaces. From the preface: "This book systematically trains designers to make these fine discriminations, with the aim of specifying text type that is not only readable, but also beautiful and expressive." Only released in this one edition, and not readily available, but a nice book nevertheless.Introduction to Typography by Oliver Simon [London: Faber & Faber, 1945]. Not a bad place to start. This edition is out of print, but there has been at least one reprint in recent years. Simon's introduction is designed for the layman, and discusses many of the basic principles and theories of designing with type.First Principles of Typography by Stanley Morrison [Cambridge: at the University Press, 1951]. An important book from the man who designed Times Roman for the London Times.Asymmetric typography by Jan Tschichold [(Translated by Ruari McLean) New York, Reinhold Pub. Corp. 1967. 94 p. illus. (part col.) facsims]. Jan Tschichold (1902-1974), a well-known typographer, caused many people to rethink 'conventional' theories of typography when this seminal work was published in the mid-60s. Whether or not you agree with his approach, this book is required reading and will widen your typographic horizons.An essay on typography by Eric Gill [1st U.S. ed. Boston: D.R. Godine, 1988]. A classic typographic manifesto on the art and craft of letterforms from the designer of Gill Sans and the famous typography of London Underground.Typography, A Manual of Design by Emil Ruder [Niederteufen, Switzerland: Arthur Niggli Ltd, 1977. 3rd Edition]. A fascinating, disciplined, and very Swiss analysis of typography and letterforms. Ruder's discussion and illustration of the importance of white space in letter forms and graphic designs is excellent background reading.Report on the typography of the Cambridge University Press by Bruce Rogers [Cambridge, Cambridgeshire: University Printer, 1950. viii, 32, (3) p. : ill.]. Bruce Rogers (1870-1957) is regarded by many as having been the greatest typographer and book designer of the twentieth century. After World War II he was commissioned by the Cambridge University Press to undertake a thorough review of all of the Press' publications and standards. The resulting Report had a major impact not only on the C.U.P., but also on the general typographic theory in both Britain and the U.S.Designing with type; a basic course in typography by James Craig and Susan E. Meyer [Fourth. ed. New York: Watson-Guptill Publications, 1999. 176 p]. A modern 'how-to' book, often used as the primary textbook in college design courses, that is available at many large bookstores and graphic arts dealers.Finer Points in the spacing & arrangement of Type by Geoffrey Dowding.Book DesignMethods of Book Design: The Practice of an Industrial Craft by Hugh Williamson. An excellent book, not only for the author's typographical observations, but also as a comprehensive survey of printing at the height of letterpress.The Design of Books by Adrian Wilson. A classic on the design, layout, and typography of traditional pages and books, written by a great letterpress printer in 1967.Bookmaking: Editing, Design and Production by Marshall Lee Originally written primarily about letterpress in 1965, this 500+ page work has recently been re-issued in a greatly updated third edition for the computer era.Printing Poetry: A workbook in typographic reification by Clifford Burke. A very informative work on this subject that also applies to other letterpress printing. Issued in an edition of only 1000.Type DesignersTwentieth Century Type Designers by Sebastian Carter [New York: Taplinger Publishing Company, 1987]. An excellent look at the people behind the type faces, with in-depth profiles of designers such as Goudy, Morrison, Zapf, etc.Typologia; studies in type design & type making, with comments on the invention of typography, the first types, legibility, and fine printing by Frederic W. Goudy (1865-1947). [Reissued 1977. Berkeley: University of California Press, xviii, 170 p.: ill.; 24 cm.]. Written by the most prolific type designer of the 20th century [creator of, among others, the eponymous Goudy Oldstyle], this reprint of the 1940 edition discusses the history, function, and meaning of type, and gives some very good insights into how a type designer works.Jan Tschichold: typographer by Ruari McLean [Boston: David R. Godine, 1975]. This puts Tschichold's career and writings in the context of developments in society around him. It is informative and thought-provoking on its own, and serves as useful background to his writings on the subject.Manuale Typographicum; 100 typographical arrangements with considerations about types, typography and the art of printing selected from past and present, printed in eighteen languages by Herman Zapf [Frankfurt, New York: Z-Presse, 1968]. Herman Zapf is known to most desktop typographers primarily for giving his name to the Zapf Dingbat font. He is, in addition, one of the most respected and creative typographers and type designers of the century, who created not only the Dingbat and Zapf Chancery fonts, but also Optima and many other faces. Manuale Typographicum is a breathtaking 'tour de force,' consisting of 100 broadsides about type design in a wide variety of faces and styles. Superb as a source of inspiration and example.Herman Zapf and His Design Philosophy by Herman Zapf, Introduction by Carl Zahn [New Haven: Yale University Press, 90 color plates]. While the Manuale shows the master at work, this volume is a discourse on Zapf's insights into type design. An excellent book.Edward Johnston by Priscilla Johnston [New York: Pentallic, 1976]. This biography of the twentieth century's most important calligrapher, written by his daughter, traces his career and influence. Unlike many printing books, this one is a delightful read.Of the Just Shaping of Letters by Albrecht Dürer [New York: Dover Publications, 1965. (reprint of the Grolier Club translation of 1917)]. Originally part of Dürer's theoretical treatise on applied geometry, here is the source for those famous capital letters set against a gridded background.Champ Fleury by Geoffrey Tory, translated into English and annotated by George B. Ives [New York: Dover Publications, 1967. (reprint of the Grolier Club translation of 1927)]. The other famous humanistic alphabet similar to the one discussed in the Dürer book, but this is the one with the letters shown against naked human bodies in addition to the grid system.Pioneers of modern typography by Herbert Spencer [Cambridge, Mass.: MIT Press, 1983. Rev. ed. 160 p. : ill.].Typeface Reference WorksAmerican Metal Typefaces of the Twentieth Century by Mac McGrew [New Castle, Delaware: Oak Knoll Books, 1994, 2nd rev, ed. 376 p. : ill]. The definitive work on the subject, and an essential reference for both graphic designers and current letterpress printers. Currently in print from the publisher.The Encyclopedia of Type Faces, 4th Edition by W. Pincus Jaspert, W. Turner Berry, and A. F. Johnson [Poole, Dorset: Blandford Press, 1983]. A standard, comprehensive reference in the field, this work is a detailed listing of over 1,000 faces, arranged by name, with full information on their history, designers, etc. Although even after several editions it has numerous uncorrected errors (dates, foundries, names, even occasionally an incorrect specimen shown) it is still a required reference work on the subject.A.T.A. Type Comparison Book by Frank Merriman [Advertising Typographers Association of America, 1965]. An indispensable handbook for identifying typefaces. Hundreds of faces are grouped together by design, making it easy to find the one you want. Still in print, possibly in a more recent edition.Graphics Master 7: Workbook of reference guides & Graphic Tools for the Design, Preparation & Production Print and Internet Publishing by Dean Phillip Lem [Los Angeles, Calif.: D. Lem Associates, 2000. 7th ed. 158 p. : ill. (some col.)]. Although it covers much more than just type design, and is fairly expensive, this is one of the most important and continually useful reference work that a desktop designer and/or publisher should have.Font & Function [Mountain View, California: Adobe Systems] was Adobe's biennial catalog of their latest font offerings. But this tabloid size, four-color publication was also quite a bit more. It included articles on typographic history, the background to many Adobe PostScript fonts, technical information and a graphic listing of over 1500 Adobe fonts. While it is no longer being published, back issues are available from a number of sources.The typEncyclopedia; a user's guide to better typography by Frank J Romano [New York: R.R. Bowker Co., 1984. xii, 188 p. : ill.].Type and typography; the designer's type book by Ben Rosen [New York: Van Nostrand Reinhold Co., 1976 Rev. ed. 406 p. : ill.].History of PrintingA Short History of the Printed Word by Warren Chappell [Boston: Nonpareil Books (David Godine), 1980]. A once-over-very-lightly in 240 pages of large type, hitting the highlights in the development of type, printing and bookmaking.Five Hundred Years of Printing by S. H. Steinberg [Baltimore: Penguin Books, 1974]. A 400-page small-print paperback which is still in print, this covers Gutenberg through the early 20th century. Steinberg's style is a little dry. Since his death, the book (starting with the third edition) has been edited by James Moran.A Dictionary of Book History by John Feather [New York: Oxford University Press, 1986, 278 pp] is a concise one-stop reference, in alphabetical order, to topics including bibliography and bibliographical terminology, the history of printing, the physical history of the book (including typography, binding, etc.) and book collecting. It has over 650 articles ranging from a few lines to several pages, and covers the ground pretty thoroughly. Although not a classic work (and, indeed, poorly designed itself as a book), it serves as a very handy reference to the history of books. An expensive purchase at the original price of $45, it is often available on remainder for about $10.The Making of Books by Seán Jennett [New York and Washington: Frederick A. Preager, 1967]. A good overview of the entire art and craft of the book, including a little history and a fairly detailed examination of every stage of the process. If you are interested in books in general, this is a good place to start. Out of print, but rather ubiquitous at second-hand and antiquarian dealers.The Book: The Story of Printing & Bookmaking by Douglas C. McMurtrie [New York: Oxford University Press, 1943]. Almost 700 pages of large type devoted to the history of the book, by one of the most prolific writers in the field. Easy to read, anecdotal, and illustrated. Although out of print, it is not particularly scarce and, if you can find it, probably the quickest way to get up to speed on printing history.Letterpress Printing InstructionIntroduction to Letterpress Printing by David S. Rose.: [New York: Five Roses Press, 2003, 32pp.] The complete 21st century Getting Started Guide to everything you need to know about acquiring a press, finding supplies, learning to print, and setting up your very own letterpress shop. (Note: this indispensable little reference gets first place on the list because it was written by [ahem] the author of this very bibliography. A fully hyperlinked electronic version with up to date sources can be downloaded from www.fiveroses.org/intro.htm)General Printing by Glen U. Cleeton and Charles W. Pitkin.: [Bloomington, Ill: McKnight & McKnight Publishing Company, 1941-1963, 195pp.] Probably the best all-around introductory book for traditional letterpress printing, this manual is profusely illustrated with detailed and useful photographs. It is the one most recommended on the Letpress list, and several members personally knew the authors. Copies of the book are readily available in both paperback and hardcover.The Practice of Printing by Ralph W. Polk (in later editions, together with Edwin W. Polk) [Peoria, Illinois: The Manual Arts Press, 1937-1945; later editions Charles A. Bennett & Co., 1952-1964, 300+ pp]. The most ubiquitous letterpress printing manual of the twentieth century. This is the standard, in print for over 40 years, from which many current letterpress printers first learned in school print shop classes, and is a good basic reference for the letterpress printer. Although out of print, it is readily available, in one or another of its many editions, from most book arts dealers and online sources. In later years, it was distributed by the Kelsey Co. as the advanced printing manual for their mass-market presses. By 1971 it was updated to de-emphasize handset type, and was re-issued as "The Practice of Printing: Letterpress & Offset". If you are primarily interested in letterpress printing, try to get one of the earlier editions.Platen Press Operation by George J. Mills [Pittsburgh, Carnegie Institute of Technology, 1953, 150 p. illus.] This manual is the first choice of letterpress cognoscenti who are printing on platen presses, and serves as the missing "owner’s manual" for traditional platen presses such as Chandler & Price, Gordon, Pearl and other floor-mounted job presses. It should be read in conjunction with one of the above books, which provide more thorough coverage of hand type-setting and composition. This invaluable book is still available, in a reprint of the 1959 edition, from NA Graphics.Printing Digital Type on the Hand-Operated Flatbed Cylinder Press by Gerald Lange (Second Edition). California: Bieler Press, 2001 This is one of the few letterpress manuals currently in print, and the only one specifically addressing both Vandercook proof presses (the gold standard for current fine letterpress printers) and photopolymer plates. This book is the authority on the technologies of "modern" limited edition letterpress printing. Subjects covered include digital type and computer practices; letterpress configuration; photopolymer plates, flat-bases, and processing equipment; photopolymer plate-making; plate registration and travel; impression; cylinder packing and makeready; presswork; ink and inking; press operation and maintenance, as well as an updated listing of manufacturers and distributors. Newly included with this edition are troubleshooting guides to problems encountered during the processing and printing of photopolymer plates.Printing on the Iron Handpress by Richard-Gabriel Rummonds is the most comprehensive book ever published on the subject, and is still in print from Oak Knoll Press. (Note that "handpress" here means something specific when it comes to letterpress printing, and doesn't refer to ordinary hand-operated presses such as a Kelsey or a Pilot.) Precise techniques for printing on the handpress are presented in lucid, step-by-step procedures that Rummonds perfected over a period of almost twenty-five years at his celebrated Plain Wrapper Press and Ex Ophidia. In tandem with more than 400 detailed diagrams by George Laws, Rummonds describes every procedure a printer needs to know from setting up a handpress studio to preparing books for the binder. The author also maintains a constantly updated web-site to accompany the book.Printing for Pleasure, A Practical Guide for Amateurs by John Ryder [published in multiple editions from 1955-1977, in England and the US, by publishers including Chicago: Henry Regnery Co., (1977) and London: The Bodley Head (1976) This is still in print from The Bodley Head in the UK or Oak Knoll Books in North America]. A lovely, classy, little (12 mo) book, both pleasing to look at and inspirational for the novice amateur printer. This introductory work gives a light overview of the hobby of letterpress printing on both sides of the Atlantic, covering how to choose a press, type, paper and ink, as well as planning, design and production. A good place to start if you are just considering taking up this avocation, and a nice place to come back to every now and then to remind you why you are still printing.A Composition Manual: PIA Tools of Industry Series by Ralph W. Polk, Harry L. Gage et al. [Printing Industries of America 1953, 4to, 311 pp., index, biblio., 433 pps] A really excellent tutorial and reference work, sponsored by the printing industry trade association as the definitive manual for apprentices. It is a thorough overview of the entire typesetting and proofing end of the business that took four years and several experts to write. Because it was published in 1953, it came out just at the inflection point between hot and cold type, and is a fascinating final masterwork from an industry that feels the winds of change approaching. In addition to very detailed and well-illustrated tutorials on hand-setting and proofing metal type, it includes surprisingly useful overviews and illustrations of all the other composition-related tools of the shop, including Elrod, Ludlow and Monotype casters. To quote from the Forward, "The industry recognized the need for a manual containing basic principles of good typography that are fundamental to the presentation of the printed word, irrespective of whether that word is composed by hand, by machine, by photo-typesetting or by some yet unnamed method of the future…"I.T.U. Lessons in Printing [Indianapolis: International Typographical Union, 1927-1972, Various paginations] Published in many editions across half a century, these ten volumes were created by the printing unions as the standardized training course for American printers. While not as elegantly written or produced as many of the other letterpress manuals, these thousands of pages cover just about everything the journeyman printer was supposed to know, eventually encompassing Unit One (Elements of [Letterpress] Composition) through Unit Ten (Photocomposition, Ruling and Pasteup). Along the way is detailed information on topics including Display Composition, Imposition and Lockup, Trade Unionism, Linotype Operation, Design, and even English ("because English is a 'reasoning' subject which may have caused the student difficulty in school."). The first volume, covering the history of printing through typesetting and a proofing, is probably the most useful one for the modern letterpress printer. The original edition of 1927, written by John H. Chambers, was replaced by a much better text in the 50's that was almost certainly ghost-written by Ralph W. Polk, who also wrote the even better manual on behalf of the employers, as well as his own manuals (see above).Printing For School And Shop by Frank S. Henry [New York: John Wiley & Sons 1917, B&W photos and drwgs 318pp] Subtitled "A Textbook for Printers' Apprentices, Continuation classes, and for General Use in Schools" and updated with another edition in 1944, this was the original vocational course textbook which was eventually supplanted for the most part by Polk. Nevertheless, it provides detailed technical instruction and illustrations and—particularly in the later edition—can still serve as a useful learning tool for today's printer.The Essentials of Printing by Frank S. Henry [New York: John Wiley & Sons 1924, B&W drwgs 187pp + index] Subtitled "A Text-book for Beginners" and half the length of the preceding book. "It develops that there is an insistent demand for a shorter text, one that shall cover only the absolute essentials of printing...this volume attempts to present to the novice, in sequence, the operations necessary to the production of a piece of printed matter." Useful and relatively short, but somewhat outdated (even for letterpress!)Printing as a Hobby. By J. Ben.Lieberman [New York: Sterling Publishing Co. & London: Oak Tree Press, 1963. 128 p. Index.] is the brash, bigger, and less restrained American counterpart to the quintessentially British book by Ryder. Lieberman was an enthusiastic amateur printer, and this book is an exuberant well-illustrated pitch for his hobby. The author was not a scholar (nor particularly an aesthete), but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission (not unlike his later book, Type and Typefaces, described above.)Printing, A Practical Introduction to the Graphic Arts by Hartley E. Jackson [New York; McGraw-Hill, 1957, 8vo., 286 pages]. Organization and use of the type case, hand setting, use of the platen press, and basic binding, with short sections on linoleum blocks, silk screen and photography in this industrial arts text. Not as good as Polk, but more than acceptable as an apprentice course book.Graphic Arts by Frederick D. Kagy [Chicago: The Goodheart-Willcox Co., Inc., 1961, 8vo, 112 pps.] Another (and probably the last) of the high-school vocational textbooks designed for once-over-lightly printing classes included as part of a longer graphic arts program, this short book gives a simple but well-illustrated quickie introduction to hand type-setting and platen press printing in about twenty pages. Nowhere near as comprehensive as many of the others, but certainly better than learning through pure trial and error.Introduction to Printing, The Craft of Letterpress by Herbert Simon, [London: Faber and Faber, 1968]Getting Started in Hand Printing & Binding by Van Waterford, [TAB Books, Blue Ridge Summit, Pennsylvania, 1981]Other Book ArtsHand Bookbinding: A Manual of Instruction by Aldren A. Watson. A clear, thorough, inexpensive introduction to hand binding.The Papermaker's Companion: The Ultimate Guide to Making And Using Handmade Paper by Helen Hiebert. Extensive step by step instructions.How to Marbleize Paper: Step-By-Step Instructions for 12 Traditional Patterns by Gabriele Grunebaum. A slim, inexpensive, but useful paperback.Practical Typecasting by Theo Rehak. The ultimate and definitive book on the subject, by the dean of American typefounders.Miller's Collecting Books by Catherine Porter. A modern, illustrated guide to all aspects of book collecting.BibliographiesA Typological Tally compiled by Tony Appleton [Brighton, (T. Appleton, 28 Florence Rd., Brighton, Sussex BN1 6DJ), 1973. 94 p. ill.]. Thirteen hundred writings in English on printing history, typography, bookbinding, and papermaking, compiled by one of the world's top dealers in the field.A Bibliography of Printing with Notes and Illustrations by F. C. Bigmore and C. W. H. Wyman [London: Oak Knoll Books, 1978]. Universally known as "Bigmore and Wyman," this is to printing bibliographies what Updike is to books about printing types. Published in 1880 (editions since then have been reprints) B&W provides excellent commentaries on just about every book that had been written on the subject as of the year it was published.Book Dealers/Publishers Specializing in Typography and the Book ArtsOak Knoll Books, ABAA 310 Delaware St. New Castle, DE 19720 USA tel:302-328-7232fax:302-328-7274 www.oakknoll.com email: [email protected] Veatches Art of the Book P.O. Box 328 140 Crescent Street Northampton, MA 01061 tel: 1-413-584-1867 fax: 1-413-584-2751 www.veatches.com email: [email protected] Wakeman Books 2 Manor Way, Kidlington, Oxford OX5 2BD, UK tel: +44 (0)1865 378316 fax: +44 (0)1865 378934 www.fwbooks.com email: [email protected] Bookpress Ltd. 1304 Jamestown Road Williamsburg, Virginia 23185 USA tel:(757) 229-1260 fax:(757) 229-0498 email: [email protected] Hawley Books 915 S. Third St. Louisville, KY 40203 U.S.A. tel: 502-451-3021email: [email protected] Knuf Antiquarian Books P.O.Box 780, Oss NB, Netherlands, 5340 AT. tel: +31 412 626072. fax: +31 412 638755 email: [email protected] Book Shop 117 Water Street Exeter, NH, 03833 tel: 603-772-8443www.colophonbooks.com email: [email protected] Graphics Attn: Fritz Klinke P.O. Box 467 Silverton, Colorado 81433 tel: 970-387-0212fax: 970-387-0127 email: [email protected] R. Godine, Publisher 9 Hamilton Place Boston, MA 02108-4715 tel: (617) 451-9600fax: (617) 350-0250 www.godine.com email: [email protected] Press 1249 Eighth Street Berkeley, CA 94710 tel (800) 283-9444 tel (510) 548-5991www.peachpit.comDawson's Book Shop 535 North Larchmont Blvd. Los Angeles, CA, 90004 tel: (213) 469-2186Many thanks to Howard Gralla, Alvin Eisenman, Robert Fleck, Kathy Schinhofen, Chuck Rowe, Earl Allen, Susan Lesch, Kathleen Tinkel, Michael J. Boyle, John Horn, Chris Simonds, Fritz Klinke, Roberta Lavadour, David Norton, Tom Parson, David Goodrich and the many members of the Letpress Internet mailing list for their suggestions before and during the compilation of this bibliography.An earlier version of this bibliography was originally published by Aldus Corporation in conjunction with their release of the Fontographer type design application. That version was, in turn, adapted and expanded from an earlier annotated checklist by the same author prepared for members of the MAUG Forums on Compuserve.Copyright © 1988-2014 by David S. Rose [email protected] The current version of this bibliography is always available online athttp://www.fiveroses.org/bibliography.htm and hyper-linking to it is encouraged. For any other publication inquiries, please contact the author.Revision: August 20, 2003 / December 18, 2014

No one really seems to actually address the question, as most of the answers talk about which typefaces are conventional for resumes—not which typefaces are the best.Let me first explain why so many people are mentioning typefaces like Arial, Calibri, Verdana, Georgia and Times New Roman as the best typefaces for resumes, why they are wrong and where the confusion comes from. I think this is necessary in order to clear some misunderstandings up. If you are only interested in which typefaces are the best to use in a resume, scroll way down until the third horizontal line.All the typefaces mentioned above are standardized and come with your OS—depending on which OS you use. Mac OS will include Verdana, Georgia and Times New Roman, but not the others. Instead of Arial, it comes with (Neue) Helvetica. But what I’ve noted is that close to no one has recommended Helvetica, whereas Arial has been recommended often—which is rather telling. People are not telling you which typefaces are best. Rather, they are telling you which typefaces they have learned work the best for them—from those typefaces that are not only standardized, but come with Windows.Consider that for a moment. How likely is it that the best typefaces in the world for resumes, just happen to be standardized Windows typefaces? Aren’t you lucky to have Arial and Times New Roman? The very best the type industry has to offer?Only, quite obviously these typefaces don’t constitute the best. By all means, they are professional typefaces that fill a need. But consider what needs these typefaces fill.Arial — A typeface not designed to function well in resumes, but designed to work with the same metrics as Helvetica. What function does Helvetica fulfill? It’s a typeface designed after Akzidenz Grotesk to steal its popularity, and was specifically crafted to neutralize the character of Akzidens Grotesk and reduce the visual noise. What you get then is a neutral, consistent looking typeface that performs very well at display size, but due to its low differentiation between letter forms as well as the closed aperture (the closeness of the letter forms), both legibility and readability are sacrificed. Now, Arial features more differentiation between letter forms as well as a greater aperture and thus is more ideal for body text than Helvetica, but probably none of the older grotesque typefaces are ideal for body text. Modern grotesque typefaces that have hints of the humanist model are much more suited to that. In conclusion, by no means is Arial the “best” typeface for body text, or indeed your resume.Calibri — Calibri is a humanist sans-serif, and thus features a much more open aperture as well as a greater legibility. Calibri also features a relatively low x-height[1]for a sans-serif, which is good for body text because if the x-height is too high you undermine the reading experience. So Calibri is much better suitable for body text. But do remember that since its x-height is low, you may need to set your text slightly bigger to compensate. So don’t use a fixed pt size, because the size of your text depends in part on the x-height. But do note that Calibri features a homoglyph, which is a pair of characters that are indistinguishable from each other. In this case, it’s the lowercase L and uppercase i (I and l). Many sans-serifs, including Arial and Helvetica, have this problem. See the image below this list to see what is problematic about this. If your resume includes a lot of technical information, Calibri may not be the best option. And this is a personal opinion but let me just add it anyway: I greatly dislike seeing Calibri—especially at larger sizes. This will not apply to resumes, but my fellow graphic design students as well as teachers will often set their presentations in Calibri.Verdana — Verdana was designed for low-resolution screens, and is thus optimized for that medium. As such, it features a high x-height (taller even than Arial’s), which optimizes the reading experience on low-resolution screens, but has become redundant now. Verdana is no longer most ideal for our modern screens, and it has never been particularly suitable for print. Since we no longer use low-resolution screens and there are far better typefaces for print, I strongly recommend not to use Verdana for your resume.Tahoma — Tahoma is similar to Verdana but with more condensed proportions. It also features a bold weight that is too bold. Unlike Calibri, Tahoma does differentiate between “I” and “l”. Still not recommended—especially not for print.Georgia — Georgia looks a bit stiff, as it’s optimized for low-resolution screens. As such, the x-height is quite large again, its thin strokes are thicker than what would be suitable for print, and the bold weight is bolder than what would be optimal for print. The same is true for Verdana, by the way. Matthew Carter—the designer of both typefaces—noted that, "Verdana and Georgia…were all about binary bitmaps: every pixel was on or off, black or white…The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series." So again, Georgia is not optimal for your printed resume.Times New Roman — Times New Roman was designed for economy of space, making it most suitable for newspapers. Times New Roman does have a much wider application than that, but I question whether the slightly condensed letter forms are the best choice for a resume. I don’t think you really have to be economical with your typography when it comes to your resume. Also, note that the bold weight has a distinct character from the regular weight.As you can see in the image above, a lack of differentiation between certain letters can greatly undermine readability at small sizes. Simply put, FF Unit performs much better at small sizes than Helvetica does, and is thus better suitable for body text—and indeed the bigger part of your resume. The image above was taken from Erik Spiekermann’s blog: Helvetica sucks | SpiekerblogI personally also wouldn’t use any of the typefaces named above because they have been overused and abused. They are dull, uninspired choices. Now, good typography in resumes should be invisible, which is to say that when the typography is proper, you will not notice anything about it except that it reads well. So the point is not to make your resume look “fancy”, but that doesn’t mean you should go for dull, obvious choices. Proper typography in resumes should be clear, and I seriously question whether typefaces like Arial or Times New Roman are most suiting for that need.On the other hand, in some cases it may be best to go for standardized typefaces, rather than with those typefaces that provide the best reading experience. It depends on the document you need to hand in and whether the fonts are embedded.Depending on where you live, there may be distinct and strict conventions in terms of typography in relation to your resume. I have been told that in the US the processing of resumes is often automated, so in those cases it may be better to go with standardized typefaces. Here, the best typography is of no consideration and may even undermine you. So consider whether it’s going to help you to read my advice rather than recruiters. I mean, I can advise you on better typography, but I cannot advise you on what your potential recruiters are going to expect from your resume. For all I know they throw every resume that is not set in Arial in the trash.It could be argued that these people should be catered to. If they only want to see Arial and Calibri, please do use Arial or Calibri on your resume. Make no considerations of better typefaces, because you risk undermining yourself.Also, it’s important to know what kind of format your resume is expected to be delivered in. If it’s print, then you can in principle use any typeface you want. If you need to send it digitally, then it’s important to note that only a PDF will embed your fonts into the file. If you are sending a Word document, then your resume will be rendered in a font that is installed on the computer on which the resume is viewed. So if you have used a non-standardized font, your text will be rendered in a different font and so your text will likely run differently, thus affecting your layout. So if you use non-standard fonts, use the PDF format. Though your recruiter may require you to hand in your resume as a Word document, thus limiting your options in typeface.And lastly before I get into the best typefaces for your resume, let me offer you a quote from one of the other answers:As a recruiter I really want you to just keep it simple, use Arial or Times New Roman. Don’t do anything fancy; don’t try to impress me with your fancy ninja font abilities.He’s not wrong. Recruiters have come to expect Arial or Times New Roman, mostly because by standardizing the typefaces used for resumes they can assure themselves they can at least comfortably read your resume. These typefaces may not be the best the world has to offer for resumes, but at least recruiters don’t risk getting resumes in Zapfino or Comic Sans. Although, that would be a simple way to filter out the candidates that should not be considered for the job. Unless you are applying for a job as a comic book writer or illustrator, in which case you could set your resume in Comic Sans and hilariously claim that the typography is appropriate.So what are the best typefaces for your resume? Well, there is no “best”. What an anticlimax, isn’t it? There may not be a best, but at the same time there are too many potentially excellent typefaces to mention. But which typefaces are the best for a resume depends on too many factors to generalize. Of course there are considerations of quality and readability—that’s a given—but which typeface is most suitable for your resume depends on the amount of text you have, your layout, what you want to convey and what industry you want to work in.Particularly in the design industry you can in principle go for something fancier. Designers are even finding unconventional ways of handing in their resumes, by making an interactive resume on their website or in a video, or possibly design your resume as a big poster, print it out and hang it up on their door. I mean, it’s a big risk to take, but I know someone who got an internship that way, by making an ugly poster and hanging it on the door of their studio. The studio owner was so impressed with his initiative and creativity that he contacted him and hired him.Anyway, you probably don’t want to be taking those kind of risks. Generally you would want one or two typefaces that are clear, readable and not too distinct. In principle you could pull it off to use a typeface with quite a lot of character, but you would really have to know what you were doing, and what connotations you are working with. So, use fairly neutral typefaces if you don’t want to have to deal with these kind of considerations. If you have money to spend, here are a few recommendations:SerifAbelard — A modern take on typefaces like Baskerville, with ball terminals.Calluna — Very clean, and a modern take on the garalde model.Rail — A bit more mechanical, but performs very well at text size.Reccia — Very clear and modern.Skolar — A bit more character, but it works very well for body text.Tarsus — A sturdy, modern serif.Sans-serifAvenirFrutiger NextGothamGraphik (not for body text)Museo SansProxima NovaNote that although these sans-serifs may work for body text if the amount of text is limited, if your resume is very descriptive I would definitely go for a serif typeface, and possibly use a sans-serif for titles. But in principle one clear serif typeface could do the job. Below on the left is my resume set in Calluna Regular at 10.75 pt, with titles in Graphik Regular; and on the right it’s set in Avenir Light at 10.5 pt.As long as the texture is not too sharp, jarring or obtrusive and is clearly readable, you are good. When the typeface for the body text becomes noticeable rather than the text itself, it probably has too much character. Also pay particular attention to the color of the text. No, not the blue and green above. I’m talking about typographic color. It’s the distribution of black on white space. Times New Roman would create quite a dark color due to its condensed letter forms. A more airy typeface will produce a lighter color. Don’t make your text too dark on the page, and don’t use many different styles because it will look messy. Less will usually look better. In fact, it will do just fine in a single color:But these days you don’t even necessarily need to purchase typefaces anymore, as there are plenty of quality typefaces available that are suitable for your resume. Here are a few that have potential:SerifAlegreya — A modern take on a calligraphic letter, this typeface has a distinct character, but it does provide a pleasant texture. Perhaps the typeface is warmer than you would like for a resume, but it may suit your needs. It also comes with a sans-serif companion, Alegreya Sans, although I don’t see a place for it on a resume. Alegreya may already be slightly risky.Merriweather — Its texture is relatively sharp, but when set a bit smaller (its x-height is quite large) it looks clear and yields a pleasant texture. It may look slightly too mechanical, but it’s worth trying out.Source Serif Pro — Based on the letter forms of Fournier, Source Serif looks friendly, with rather generous proportions. Probably not suitable at large sizes, but it seems excellent at text size, both on screen and in print. Companion to Source Sans Pro.Sans-serifFira Sans — A Spiekermann typeface, which means a high legibility and no homoglyphs. Fira Sans features an open aperture and is thus quite ideal for text, and it features a wide range of weights as well.Montserrat — A geometric typeface with generous proportions and a friendly appearance. You probably wouldn’t want to set extended texts in this, but setting short texts in Montserrat will probably yield clarity. On the other hand, geometric typefaces are not conventional for resumes, so its character may be a bit too informal.Open Sans — A very clear, modern, humanist sans which functions well on the screen as well as in print.Roboto — If you’re looking for a more neutral typeface, then Roboto could be it. It’s a grotesque typeface with some humanist elements, thus offering a balance between neutrality and legibility.Source Sans Pro — A beautifully proportioned, highly legible typeface which performs well even at small sizes.Work Sans — While not neutral, it provides a pleasant texture and is highly legible. Again, there are no homoglyphs. Work Sans has a slightly informal character however, so consider whether those are appropriate connotations.And finally, let me just mention Constantia, which comes with Windows but is often overlooked. It’s a polished and screen-optimized typeface influenced by Perpetua, with a hint of Palatino. Very suitable for both screen and print. Its texture may be too sharp for your resume, but it’s worth trying out.Footnotes[1] Test page for estimating the relative x-height (aspect ratio) of a font, using JavaScript

Calligraphy’s prettier.Actually, there’s more to it than that. “Cursive” is what — in the days of my far off youth — was called “joined up writing”. In those days we wee small infants began by copying individual letters. Then we learned ligatures, the small connecting lines which allow you to write “dog” as ‘dog’, not ‘d o g’.Ligatures are lines that run from the end of one letter to the beginning of the next, often with a loop to preserve their flow. (On tailed letters such as as ‘f’, ‘b’, ‘p’, etc.)Cursive is joined-up letters forming whole words. Calligraphy is letters as Art.In my primary school, when you could write words without taking the point of the pen off the page (and they were legible!), they started us on italic writing.Italic is a good basis for calligraphy. It can be a cursive hand, but it need not necessarily be joined up writing. The individual letters, when drawn carefully and regularly enough, are pretty enough to be considered calligraphy.Most calligraphic hands seem to come from the old manuscript hands, used by clerks and churchmen, and originating as far back as the Roman Empire, and through the medieval and Early Modern eras. I suppose this is because they’re easier to make look beautiful, because most of them are beautiful to start off with. They will have been originated by people who made their pens from goosefeathers, or later on from metal. These nibs give a thick line when moved in one direction, and a thin line in the other, and it’s the regularity of these thin and thick lines and diagonals and curves that make them capable of being artistic.I must admit to being something of a hypocrit in this. I grew up in an era when it was said that “ballpoint pens spoil your handwriting!”, and in school we were forbidden to use anything except fountain pens. I’ve done calligraphy as a hobby — and I love fountain pens — but I also love the utility of ballpoints, rollerballs, fine tips…. You name it.When I use those in a hurry, though, my irregular scrawl looks like a drunken spider just crawled out of an ink bottle…It’s probably true that biros, and all similar pens, do spoil your hand, in that it doesn’t matter which way round you hold the nib, and you can apply as much pressure as you like. If you happen to get hold of a vintage fountain pen, made before they had to compete with biros in the 1950s/1960s, there will often be a springy, soft metal nib that makes even basic cursive look like it was written by a master.The generation following mine used an abomination called “ball and stick” hand, in which the letter “b”, for example, would be drawn as one stick ”|” plus one ball “o”. Urgh!It hardly matters, because the generation following that doesn’t need to write by hand. They type. Schools are already worriting that they can’t teach their younger pupils how to handwrite… It’s a lost cause, I think, or it is at the moment.There is research that compares the effect on note taking in university if you take the notes by hand, or if you write on a laptop or similar. It seems you remember much more, when writing by hand, and — more interestingly — you are better able to manipulate the data and draw conclusions from it.But as people use phones and laptops more, they naturally handwrite less. Problems follow:Should marks in exams be affected by handwriting of students?Pupils 'losing marks in exams due to poor handwriting'I can see that it’s a problem. If you have to print your letters (no matter whether you use a biro, a fountain pen, or a stick), you’ll take longer to put your exam answer on the page. If you can’t write with a cursive hand, you can’t really write.But — you knew there was a but! — if you write a bad cursive hand, nobody on god’s green earth can read it.Calligraphy is beautiful writing. It puts you in the artist’s frame of mind, when you make your marks on paper. The thing is worth doing well for itself. Art is its own reason, after all.Cursive hand is effective writing to communicate information. That’s not the same thing at all. Some calligraphy is so wonderfully decorated that it takes a very long time to work out what it actually says. Cursive handwriting has to be plain enough that any given person can read it, and yet be written quickly enough to be useful.Some years ago, I realised that I couldn’t re-read something I’d written, so I set out to “repair” my handwriting. This is where I got involved with calligraphy, feeling that it had something to teach me.It did.I taught me that I can write very regularly and legibly, if I write slowly.But I’ve been a student taking notes, and I write fiction professionally, and while I still prefer handwriting—every time I get seized by an idea that I have to write down, the drunken spider comes back!So I’d say the difference between calligraphy and cursive is what you want to use them for. You want beautiful writing, and don’t care how much time you spend? That’s calligraphy. You want to be able to hand-write legibly and quickly? That’s cursive.And the advantage of calligraphy and cursive is that they don’t vanish when your battery goes… :)Q: What is the difference between calligraphy and cursive?