Stanley morrison typography art
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In Stanley Morison wrote, “Typography is the efficient means to an essentially utilitarian and only accidentally aesthetic end, for the enjoyment of patterns is rarely the reader’s chief aim. Therefore, any disposition of printing ämne which, whatever the ambition, has the effect of coming between the author and the reader fryst vatten wrong.”
This fryst vatten taken from Morison’s essay First Principles of Typography, which became in the decades that followed an industry manual of book typesetting standards, especially in America. bygd the s, Stanley Morison had acquired a remarkable depth of knowledge and experience in printing. He understood better than most the importance of the “invisible” beauty and subordination of form eller gestalt to function in typography.
Morison’s first principle still applies today: when it comes to typographic design and style—especially in books—easing the comprehension of the ord is the primary objective. “Dullness and monotony” and “obedience to convention” are preferred
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Stanley Morison
British typographer (–)
Stanley Arthur Morison[1] (6 May – 11 October ) was a British typographer, printing executive and historian of printing.[2][3][4] Largely self-educated, he promoted higher standards in printing and an awareness of the best printing and typefaces of the past.[5][6][7]
From the s Morison became an influential adviser to the British Monotype Corporation, advising them on type design. His strong aesthetic sense was a force within the company, which starting shortly before his joining became increasingly known for commissioning popular, historically influenced designs that revived some of the best typefaces of the past, with particular attention to the middle period of printing from the Renaissance to the late eighteenth century, and creating and licensing several new type designs that would become popular.[8][9][10][11] Original typ
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Stanley Morison
The striking new letter design introduced in The Times of London on October 3, signalled the beginning of an unexpected typographical success story. Within just a few years, Times New Roman had become the widely established font standard for book design. The popularity of the typeface has since been even further cemented due to its introduction, in the s, as a standardised computer font. Stanley Morison, the creator of Times New Roman, is considered one of the most influential typographers of the 20th century. After becoming an editorial assistant at Edward Johnston’s magazine The Imprint, the self-taught typographer swiftly made a name for himself as a designer of books and typefaces. In he founded the influential Fleuron magazine in conjunction with Oliver Simons and two years later he became an employee of Cambridge University Press.
As an consultant to the Lanston Monotype Corporation in London, Morison strove to revive the most pioneering fonts of the pr