Archived entries for Lydian

10 line Lydian Bold Condensed

10 line Lydian Bold Condensed

10 line Lydian

10 line Lydian Bold Condensed

Warren Chappell designed Lydian Bold Condensed eight years after designing Lydian and its italic. Though the original weights are easily the most popular modulated sans serifs of American origin, the Bold Condensed weight is, in my opinion, much more compelling.

10 line Lydian Italic

Hyperbole For Sale, part 4

Hyperbole For Sale
I finally found an appropriate use for Lydian Bold Italic! The stars are 5 line wood, printed in metallic silver; the arrow is a vintage linocut, purchased from Dave Churchman, it measures approximately 15 inches long.

I’ll let you in on a little secret. I had intended the arrow to point in the other direction, but when working on three or four prints simultaneously mix-ups like this happen. I’m glad it did. I like the opposing directional movement of the arrow and the Lydian Bold Italic. The print measures 19.75 x 9 inches and is printed on Mohawk Superfine, Smooth, White, 100lb. cover.

Say What?

6 line Lydian Bold Condensed

This question mark, or interrogation mark, comes from one of a few fonts I have of Lydian. According to Mac McGrew, author of American Metal Typefaces of the Twentieth Century, Lydian is a “brilliant and popular calligraphic style designed by Warren Chappell for ATF.” No offense to McGrew or Chappell, but I’m gonna be honest with you, I don’t much care for Lydian. It feels too mannered, I’ve never had a good reason to use it, and I’ve never seen it used well – until last Friday, February 19. The staff of the Book Arts Program were invited to the home of Ann Montanaro, Director of the Movable Book Society, to view her collection of over 4,000 pop-up and movable books. It’s a truly impressive collection with many fun, clever, and awe-inspiring books, but one in particular stood out for me. The title of the remarkable book is … from the bottom UP! Besides the magnificent illustrations, brilliant use of simple paper engineering, and flawless design, this book manages to use Lydian (the main text is Lydian Italic) in a way that makes me question my disdain. The stroke modulation and angled serifs integrate seamlessly with the style of the illustration, and the pairing with Futura feels contemporary and fresh, despite the fact that the book was published in the early to mid 40s.



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