een Hand Gebonden Kunstenaarsboek '(The) Fairing(s)', the Artist's-Books Workshop,Vilnius 2009 a hand-bound Artist's-Book / le Livre d'Artist / ein handgebundenes Künstler Buch / Mahler Buch

1. A 'fairing' is a gift. More precisely: a 'fairing' is a present given at or brought from a fair. 2. A 'fairing' is a thin cake made of sugar and butter.

3. 'Fairing' is making the surface of an aeroplane smooth and streamlike. More generally it is used for the process of streamlining.

Typesetting with movable typeface.
There is:
wooden typeface, the real larger ones, generally 32 points up some 25 cicero, or any size really (all sorts of plastics have been used);
lead typeface (the older alloys fairly strong, and 'modern', lynotype, weaker alloys , 6 points 'non pareil' up to (max) 72 (which is unusual) points (the larger in the more modern times, 1950ties, were cast from the Ludlow heads-casting machine);
copper, stronger lead alloys sizes for the bookbinder (these can be easily warmed without much risk for deformation),
and rubber, flexible plastics, in any size to stamp on any surface.

Yes!, there is much one can say about this, especially as it is a trade that has
'firm roots in European Culture for more than 500 years'.
As for all other causes, people in all their right minds have found every reasons to nullify ideas someone may have had at some time if it were not 'up to general standards'.
We may find that most of the reasoning used has been economically based.
It has absolutely nothing to do with the always usefull argument (that nobody ever explains) of 'aesthetics'; which more often than not is 'good taste' in a certain time (something everybody seems to simply know right and wrong of).
I would conclude that type-setting is rather a 'believe' than a trade - and as believes come from life itself I should encourage anyone to find some way according to one's own needs, rather than the much used good taste as a 'general strandard' (a standard never the less worth knowing one day or other, as it says much about society and the way it preferes to be depicted and therefor deserves a social study). In the end artists should be the ones that make the 'aesthetics' of their time.

what ever you do you would need more 'white' than actual typeface.

these photographs have been made by Jantsje Post when she and Joseph J. Visser were working together on a minor project:
a catalogue for the works of Pieter Westra

Typesetting is a trade any one with a bit of patience can learn.
Just like any one can learn to play a fiddle.

It may take a bit more than just learning to 'shape text' or 'play music'.

Trades and arts are not necessarily lovers, as much as they may need one-another







In 1313 the Chinese had their movable type in most perfect order:

(part from an antique Cninese picture showing a printer's studio; free source)

More or less every country has its own layout in the typecase; and different printers often have a 'common practice' that is just 'their way' - I have learnt to see that they are all absolutely right!

Jacob Baars, a fellow printer, and collector of 'rare bits in printing' has a case with Japanese wooden type face and let me use this picture:



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INDEX of Joseph Joh'n's Pages