Críticas:
"There is no other comparable corpus of material on the subject." Stephen Rawles, University of Glasgow H-France Review, vol. 9 (July 2009), No. 98. "Vervliet's Palaeotypography of the French Renaissance provides an extraordinary wealth of information for students of the history of printing types, bibliographers attempting to date, localize or identify the printers of books or ephemera, designers seeking historical models for inspiration, typophiles taking pleasure in the beauty and functional quality of letterforms, and economic and cultural historians trying to understand the manufacture and distribution of printing types, so intimately bound to the intellectual, political, religious and economic development of the western world. It [...] demands the revision of every general history of printing types that has ever been written. John A. Lane. In: De Gulden Passer, No. 87, Issue 2 (2009).
Reseña del editor:
This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.
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