We Love Life by Pulp
4 Comments on “We Love Life by Pulp”
As far as I know Pouchée’s letters were first shown in the Journal of the Printing Historical Society, volume 1 (1965), in an article by Harry Carter, ‘Caslon Punches, an interim note’. This was when all of the Caslon punches were at the Oxford University Press. The letters that are shown in Gray are indeed from Wood & Sharwood’s Austin foundry. They are not Pouchée’s but almost exact copies of those of Pouchée.
Its also not strictly true that the letters are wood type, more that they are wooden punches, intended to be used to make matrices from which metal type would be cast. The only time they were used as type was when they were used to print the book.
It looks like the second ‘P’ is from a larger size, see the higher frequency of the hatching. The varying levels of detail suggest that the four letters are all from different cuts, with ‘L’ being taken from the smallest and ‘U’ from the largest.
A propos: LTR Federal is a digital typeface that comes in a range of optical sizes: The bigger the intended size, the more shading lines.
Love the Trees track on this. Recognized the artwork while browsing this site.
I’d never noticed that the “P”s were different.
So great. Had no idea that Peter Seville was in charge. Very cool.
I’ve seen the (astounding) Imprimit edition and I can confirm Mr. Hardwig’s intuition: bottom left 'L’ is an 8-lines size, top left 'P’ is the 9-lines, bottom right 'P’ is 14-lines. Kind of impressive that they decided to use a mix of alphabets as it must have been harder to put together-I now wonder if the serifs might have been modified to get them to align. That said, they are astonishingly well-cut, you can’t believe that they’re cut on wood not metal. This set of floral designs forms a loose family (Mosley in the introduction speculates that they were one engraver’s work); others have other designs, often darker in overall colour.