Italian edition of the Old Testament's Ecclesiastes. New translation...
Collection of 57 poems and short texts in prose. French edition. Rosnay...
Print run of 18 copies on paper made in Sicily. English edition....
One of 7 special copies printed on cream-color handmade Umbria paper.
Dedicated to the engraving, founding and printing techniques in favour of the aesthetics of the Book. It describes centuries of typographic and paper civilization through original paper samples and watermarks from different centuries, and original foundry types cast since the 17th century.
5 700,00 €
The Manuale Tipografico IV celebrates the Book in its material and spiritual aspects, describing and showing centuries of typographic and paper civilization through original samples (papers and watermarks from different centuries) and original foundry types cast since the 17th century.
The Manuale highlights the skills and techniques of type engravers, founders and printers, who are able to preserve, through many delicate passages, the ideals of beauty that inspired type designers.
Two hundred years after Giambattista Bodoni’s Manuale Tipografico, the Tallone’s Manuale is a 'synaesthetic' volume of 208 pages typeset by hand, where every description is accompanied by printed examples and original inserts.
Index of texts, technical and aesthetic explanations and inserts:
1. Maria Gioia Tavoni, Le difficoltà incontrate dai prototipografi nel costruire la pagina a stampa
2. Technical and aesthetic explanation
Enrico Tallone, Identità dei caratteri (Type’s Identity)
The distinctive features of a type sort descrived and shown through 16 printed examples, with a special focus on:
- the differences between foundry types derived from hand-cut punches and 20th-century types engraved with a pantographic milling machine;
- foundry marks on the stems of types;
- the aesthetic peculiarities of Gothic, Medieval, Renaissance, Baroque and Didone typefaces.
3. Pedro M. Cátedra, Ibarra & Bodoni, el artesano y el artista.
4. Technical and aesthetic explanations
Enrico Tallone, Durata e diversi stati d’uso dei caratteri (Duration and wear of types).
With 6 printed examples of the different states of wear and the explanation about how to preserve types over the centuries and correct their faults in the printing phase.
5. Enrico Razzini, Origine e composizione del corpus tipografico da cui ebbe inizio l’impresa editoriale di Alberto Tallone.
6. Technical and aesthetic explanations
Enrico Tallone, Avvicinamenti & allineamenti (Letter-spacing and Alignment).
This chapter demonstrates both the genius of great type designers in giving each letter a stylistic continuity, and the ability of type-founders to determine the ideal distances between the letters, by means of 11 printed examples of italic, roman, capital and Gregorian-chant types - whose complex method of hand-typesetting is clearly represented and explained.
7. Massimo Gatta, Cher M. Tallone, stampatore italianissimo. L’amicizia tra Charles Malin e Alberto Tallone.
8. Technical and aesthetic explanation
Enrico Tallone, Delle crenature (About Kerning).
How engravers and typesetters deal with the unaesthetic gaps that can occur in the juxtaposition of some letters.
16 printed examples, which include Greek, Ethiopian, Coptic, Arabic and Hebrew types.
9. Jean-Luc Nancy, Un élève prote.
10. Technical and aesthetic explanation
Enrico Tallone, Considerazioni sulla stampa tipografica (About letterpress-printing)
How to regulate pressure and inking in relation to the different kinds of paper and types. It includes printed examples and an original make-ready and overlaying page, different for each copy, which shows how the printer should intervene to achieve a more even impression over the printed page.
11. Original inserts
An original make-ready and overlaying page, different for each copy, which shows how the printer should intervene to achieve a more even impression over the printed page.
12. Armando Torno, Elogio dell’elzeviro.
13. Davide Rondoni, Cosa stanno scrivendo gli anni
Poesia inedita dedicata al Manuale e scritta appositamente (A poem dedicated to this Manuale)
14. Technical and aesthetic explanation
Enrico Tallone, Il corpo dei caratteri (Type sizes)
It shows, through printed examples, how the relationships between apertures and sizes vary in the interpretations of different designers; moreover, it shows the complete parade of sizes from point 6 to point 72.
15. Nicolangelo Scianna, Intrecci di invenzioni e loro sviluppi: dalla filigrana in chiaro a quella in chiaro-scuro.
16. Original inserts
Three ancient watermarks respectively from the 18th, 19th and 20th centuries, made in Italy, France and England, identified by date, place and the name of the maker (the deluxe copies include a higher number of original watermarks which dates back to the 16th and 17th century).
17. Luigi Manias, Carta a mano: dal mito alla prassi. Le carte Montval. Le carte Magnani e le carte Fabriano.
The stories of the men who have preserved and relaunched in the 20th and 21th century the art of hand papermaking in the Ardèches region (Montval paper), in Pescia (Magnani paper) and in Fabriano.
18. Original inserts
Six original samples of Montval and Canson & Montgolfier papers from the 1920s, 1930s, 1940s and 1950s, made in Vidalon-Lès-Annonay (Ardèche).
19. Original inserts
Six original samples of Magnani paper made in the 19th and 20th century at “Le Carte” papermill in Pietrabuona, Pescia.
20. Original inserts
Six original samples of Fabriano paper from the 1930s, 1940s, 1950s, 1960s, 1970s, 1980s.
21. Peter Thomas, The revival of handpapermaking in the USA in the late XX Century.
22. Original inserts
Six original samples of papers and watermarks handmade in the U.S.A. in the 1980s, 1990s and 2000s.
23. Carlo Ossola, Perfections du noir (segue l’omonimo poema di Giuseppe Ungaretti).
24. Original inserts
Twenty-six shades of black inks made in Germany, Italy, England and the United States in the 1930s, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s and 2000s.
* * *
A volume in the 4to format, of 208 pages entirely typeset by hand in 12 point Tallone type, designed by Alberto Tallone and punch-cut by Charles Malin in Paris.
The captions and footnotes are typeset by hand in Garamond type, cast by Deberny & Peignot. About 360.000 letters have been handled for the hand-typesetting of this book.
This is one of 7 numbered copies printed on pure-cotton cream-color Umbria paper, handmade in Fabriano. They include original watermarks made in the 16th, 17th, 18th, 19th, and 20th century.
Moreover, the book comes in the following editions:
-126 copies on off-white pure-cotton Magnani paper. They include three ancient watermarks respectively from the 18th, 19th and 20th centuries.
Moreover, the following deluxe copies have been printed, which include a higher number of original paper samples, and watermarks made in the 16th and 17th century:
- 98 numbered copies on off-white pure-cotton paper mould-made in Sicily. They include original watermarks made in the 17th, 18th, 19th, and 20th century (images and price on request)
- 15 numbered copies on pure-cotton cream-color Magnani laid paper. They include original watermarks made in the 16th, 17th, 18th, 19th, and 20th century (images and price on request)
- 5 numbered copies on pure-cotton cream-color Magnani wove paper. They include original watermarks made in the 16th, 17th, 18th, 19th, and 20th century (images and price on request)
- 8 numbered copies on teinted-color ancient Fabriano paper. They include original watermarks made in the 16th, 17th, 18th, 19th, and 20th century (images and price on request)
- 6 numbered copies on pure-cotton off-white Umbria paper handmade in Fabriano. They include original watermarks made in the 16th, 17th, 18th, 19th, and 20th century (images and price on request)
The volume is housed in a hand-made slipcase and box, custom made to an exact size, whose exteriors are covered with Ingres paper. The book title is letterpress-printed on the slipcase’s spine.