Alphabetica (2002)

Alphabetica (2002)
Dave Wood
Bound in vellum; open-spine binding sewn on vellum strips. H210 x W290 x D30 mm. 54 pages. Loosely inserted colophon. Edition of 26. Acquired from the artist, 27 July 2022.
Photos: Books On Books Collection. Displayed with permission of the artist.

From Alphabetica‘s description as an exploration of the alphabet’s “diverse development from historic shapes to the infinite variations we see today in typefaces and calligraphic forms of the Western alphabet”, the reader might expect an academic work. The deeply embossed and debossed royal purple cover presenting the title in landscape format suggests otherwise as do the marbled endpapers and embossed gold foil title page. The cover is built up with a very strong paper made in Nepal, painted with acrylic then sprayed with semi-matte varnish. Inside, the reader finds a portfolio of twenty-five distinct “canvases” in which Wood demonstrates both historical sensitivity and artistic inspiration.

Across the twenty-six spreads, Dave Wood has captured each letter’s distinct story with multiple styles of calligraphy in Sumi ink and gouache paints as well as varying textures and techniques (Canson and Arches paper, glassine, foil, embossing, stamping, feathering and cutting), colors and layouts.

The letters’ developing shapes and periods are labeled. Starting with the letter B, Wood adds names of typefaces, structural terms for type, palaeographical terms and terms from the crafts of calligraphy, typesetting and printing — all beginning with /b/. Similar labeling occurs for the letter C but with a different layout. Across the twenty-five canvases, Wood excels at this balancing of difference and similarity. Notice, for example, how letters B and C incorporate the Renaissance style of illumination called bianchi girari (white vine stem decoration).

The ways in which uppercase-to-lowercase movements interact with the layout’s variations make for a dynamic experience. Sometime it’s subtle, sometimes vigorous. Note, for example, how the letter D de-emphasizes the gutter whereas the letter E emphasizes it.

With letters H through Q, a shift from Arches white to Canson black paper and back adds to the overall dynamic movement. Yet Wood is attentive to elements of unity; for example, his playful handling of the gutter in the transition from letter H to letters I/J echoes that from letters D to E.

Only six letters perform the trick of extending across the gutter — lowercase H and uppercase K, M, O, U and X. While O, U and X take the similar approach of almost evenly straddling the gutter, each of the other three succeed differently. M is perhaps the most striking and interesting of them all. M derives from the Semitic word for “water” mem. As Wood points out in the loose insert colophon, the watery blue that fills the letter is intentional — as must be the precise alignment of the inner peaks of the letter with the gutter. Such attention to detail in the midst of so much activity on the page demands a similar attentiveness from the reader.

For example, the long tail of the Q does not show up until the bottom of the spread. And the reader may need to pick out the the word “or” in the text to spot the lowercase r in the textured, oversized written word “or” directly below the text.

Visual puns abound. Celtic knots in a capital L (for the Lindisfarne gospels). An S formed of stones. Leaves falling from a lowercase t (for tree or tea, of course). A U growing underground.

Fortunately, the accordion-fold colophon loosely inserted in the book offers pointers to some (not all) allusions. For example, the beginning of the third line for the letter V pays homage to Titivillus, the 13th-century patron demon of scribes’ mistakes. The illustrated W is an homage to Ben Shahn’s letter design. The highly contrasting thicks and thins in the letter X allude, in calligraphic terms, to the thick mark’s determining the number of pen widths making up the x height (the body of the miniscule).

And while the colophon may be necessary to know that the typefaces written in color below were created by Hermann Zapf, any viewer can enjoy Wood’s incorporating the entire alphabet in the Sumi ink design culminating in the letter Z as a fitting self-referential conclusion to Alphabetica.

Man and his World in the Alphabet (1991)

Man and his World in the Alphabet (1991)
Victor Hugo and Kenneth Hardacre
Softcover, sewn. H185 x W128 mm. 12 pages. Edition of 300. Acquired from Castle Hill Books, 9 June 2022.
Photos: Books On Books Collection.

In booklet form rather than broadside, Kenneth Hardacre pays homage to Victor Hugo and Hermann Zapf. The text is an extract from Hugo’s 1839 letters to his wife, published in 1910. The extract was translated by Paul Standard for Hermann Zapf’s Manuale Typographicum (1954), and Hardacre adds to his homage by typesetting the extract in Zapf’s Palatino. According to the booklet’s colophon, the papers for the cover, flyleaf and text are mould-made papers for private distribution by Hardacre and The Kit-Cat Press.

For the Books On Books Collection, Hardacre’s booklet has captured an idea that underlies both the alphabet-related and architecture-related themes in the collection. The list below provides some examples of the works reflecting those themes.

Books On Books

Curated by Robert Bolick

Hermann Zapf

Books On Books Collection – Dave Wood

Alphabetica (2002)

Further Reading and Viewing

Books On Books Collection – Kenneth Hardacre

Man and his World in the Alphabet (1991)

Further Reading