Bernard Shaw On Modern Typography

Cover Bernard Shaw On Modern Typography
Bernard Shaw On Modern Typography
Shaw Bernard
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Of course, printers who want to turn out fine work have constantly to face the difficulty that the average customer, un^ fortunately including the average author, dislikes it. It is quite a mistake to think that he is merely insensible to the beauty of a finely/designed and well^printed page: he positively hates it. He likes as much glossy white paper and as little black as possible. He liKes regularity. When he hangs up a print in his drawing-room, he has it framed with several inches of white... mount all around it. He provides his own Eerson with white margin in the shape of uge collar and cuflFs, starched and ironed. Naturally, he likes leads in his books and broad and equal margins. He likes rules because they are straight. He even tells you that solid set type hurts the tyts^ and accuses you of paradox when you tell him that it is the glare of the leaded space and the smallness of the leaded type that really make work for the oculist. He will buy a so-called art book, printed on paper that will turn into mud if a drop of water falls 8 on it, and send it to Mr.

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