Fraktur Mon Amour Imitation Leather – Oct 1 2008
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About the Author
Judith Schalansky is a graphic designer based in Berlin.
Inside This Book(Learn More)
Top Customer Reviews
The index of designers lists both the modern designer and the original in the case of a revival, which is a nice touch, and the designs on facing pages are a lot of fun. The intro is in both English and German.
The book has the physical appearance of a prayer book or Bible, complete with pink and black bookmarks.
Definitely one of the more interesting font samplers I've seen and should be on the shelf of anyone serious about blackletter, and especially Fraktur type.
Most Helpful Customer Reviews on Amazon.com (beta)
In addition to the thorough presentation of some 300 typefaces with dates, designers, and origins, you will find a facing-page design using the typeface. Many quite well done and some even exciting. Of course, I'm not the first to find the book spectacular. It won the Type Directors Club of New York's 2007 Award for Typographic Excellence. It should also get some kind of prize for campiest title for a typography book ever.
The book was originally printed in Germany, and at the bottom of each typeface sample page, there is a German text (translated in the introduction). It is quite a ridiculous text, something about a diplomat eating a pie, but in fact many pages have variations on the text, some of which are even more hilarious. Of course, you'll have to be able to read German to appreciate these, so you might want to consult Amazon's selection of German instruction books.
In short, this book is a classic "sleeper." When I ordered it I was expecting a rather straightforward, perhaps dry book about blackletter typefaces. What I got was a thoroughly delightful and entertaining romp through type and design. Yet a book that was also full of information and even scholarly in its details. Not to mention a CD-ROM with 100+ blackletters.
Just be careful, you may find it addictive. I did.
I have only two complaints. First is the paper. It is less opaque than I'd wish, so there's substantial show-through from page to page. (This is hard to avoid; in a book with 720 pages, the paper must be fairly thin.) Additionally, there is a disappointingly high number of flecks in the paper, which can be rather distracting when looking at the type. Second, many of the graphical compositions fail to give much sense of the specific font's "feel", and some are little more than wasted space. However, there are also some which are both intriguing and informative.
I'm glad I got a copy, and thank Ms Schalansky for her dedicated work!
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