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BEAUTY IS IN the eye of the beholder. This often quoted line, sometimes attributed to Margaret Wolfe Hungerford in the 1878 novel Molly Brown, suggests that beauty is a subjective quality with differing opinions as to what is beautiful. What is often termed “ugly” is beautiful to someone else. Philosophically, many have grappled with whether beauty is subjective or objective. In the field of typography from a Christian point of view, differing typographic periods both reveal and test what is considered beautiful. 

We believe beauty in this world comes from the presence of God in creation and life. We are made by our Creator to be “sensory-rich,” and our typographic history unfolds this in stunning and diverse ways. As one writer has so eloquently said

“Holy Scripture calls us to inhabit an ordered world of creation and providence that is sensory rich, but we suffer what we may regard as spiritual sensory deprivation. And the more we discover the depth, scope and lush richness of the divinely ordered real world, the more we discover the impoverishment of the modern condition.” (Mark Garcia, Westminster Theological Seminary)

Typographical Beauty Through The Ages

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THE MOST PRINTED book in the world is the Bible.  Even before the press work of Gutenberg in the 1400s, handwritten manuscripts by dedicated religious monks brought the Word of God to written light. Centuries earlier than these dedicated transcribers of Scripture, ancient Hebrew and Greek writings began the journey of Bible typography.

William Skeen in his 1872 Early Typography celebrated what he called “The Art Sublime” referring to typography and its use for divine illumination —

“That all aright the men may know

To whom Typography we owe;

The men whose names immortal ring,

Whose gifts transcendent blessings bring,

Whose monuments in every land

By wisdom rear’d, heart-honor’d stand,

Inscribed in tongues of every clime —

“Inventors of the Art Sublime!”

This little book investigates the history of Bible typography, the “art sublime,” from ancient roots to modern examples. An Appendix of older typographic fonts, many of them hand written and digitized for modern use, is also offered.

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TYPOGRAPHY FOR TYPISTS. I admire and value what professional typists do, whether they be document processors, or administrative assistants or data crunchers. Theirs is an often underrated and overlooked job when talking about the actual type they use and how they use it.

As also a pastor and theologian, I have worked with a number of church secretaries and administrative assistants who produce regular newsletters along with massive amounts of correspondence. What I have noticed as a typographer is the lack of knowledge of basic typographic principles used in such materials. This has led to this little book on typography for typists.

My hope and desire is that this book is an encouragement to all those typists seeking to produce accurate and good-looking documents in today’s world.



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