It was 1986. I graduated from college and started my career as a designer at The New York Public Library. My typographic education over the previous four years was rooted in Bauhaus asymmetry and experimentation. The Library, however, maintained a strong preference for classical symmetrical layouts and a predilection for serif typefaces. Learning how to design within these constraints felt as if I had been restricted to speak only Ancient Phoenician. However, I soon came across a book plate (and designer) that taught me otherwise.
Bruce Rogers (1870–1957) is one of the most celebrated book designers of the 20th century. He was not hip or edgy, but urbane, scholarly, and meticulous. He revered classical structure and beauty and disdained modernism. During the second half of the 20th century, at the height of the international design movement, the design establishment disregarded him and deemed his work antique and irrelevant as modern design and sans serif typefaces moved to the forefront. Read More