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Heart of Darkness

Heart of Darkness

Leo Gurko
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Usually a picture is the arrangement of pigment on some background made invisible by the pigments. The artist's reality is all we see. But our illustrator, Robert Shore, has correctly seen the tale as a sea-story, even though much of it takes place on land, and has chosen as a background a material which, in his hands, sets the mood for the pictures and even sometimes becomes the most prominent feature. The material is plywood. He has used cheap plywood because of its strong grain, and acrylic paints which are almost transparent and therefore stain the wood without obscuring it . The grain comes through as the actual planking of a ship's deck, as heat waves dancing around Kurtz's head, or as the moire silk of a woman's dress. This cheap plywood has even gone a long way to determine the size of our book.... After reducing the illustrations to their final page size, we get a book whose height is somewhat greater in proportion to its width than is customary. The effect of his illustrations is extraordinary....

THE LUMINOUS INTRODUCTION... is the work of Leo Gurko.... Professor Gurko finds Heart of Darkness "marvellously and endlessly rich." One can "go back again and again and find new soundings" because, with Conrad, "there is never a point of diminishing returns." This is the feeling he conveys to you in his introduction.

THE DESIGNER of our radiant Heart of Darkness is that versatile and scholarly Philadelphian, Richard Ellis. The typeface he has chosen for the text is his own personal favorite, 16-point Deepdene.... Ellis himself carefully supervised the setting of the Heart of Darkness text.... The running heads are in Bembo. For the chapter titles [Ellis] returned to Deepdene italics.... Neither of these satisfied him for the chapter-opening initials, so he drew these, and then ran the next few lines of text in capitals. There's no mistaking that Ellis flair!
Language
English
Pages
117
Format
Hardcover
Release
January 01, 1899

Heart of Darkness

Leo Gurko
0/5 ( ratings)
Read Download
Usually a picture is the arrangement of pigment on some background made invisible by the pigments. The artist's reality is all we see. But our illustrator, Robert Shore, has correctly seen the tale as a sea-story, even though much of it takes place on land, and has chosen as a background a material which, in his hands, sets the mood for the pictures and even sometimes becomes the most prominent feature. The material is plywood. He has used cheap plywood because of its strong grain, and acrylic paints which are almost transparent and therefore stain the wood without obscuring it . The grain comes through as the actual planking of a ship's deck, as heat waves dancing around Kurtz's head, or as the moire silk of a woman's dress. This cheap plywood has even gone a long way to determine the size of our book.... After reducing the illustrations to their final page size, we get a book whose height is somewhat greater in proportion to its width than is customary. The effect of his illustrations is extraordinary....

THE LUMINOUS INTRODUCTION... is the work of Leo Gurko.... Professor Gurko finds Heart of Darkness "marvellously and endlessly rich." One can "go back again and again and find new soundings" because, with Conrad, "there is never a point of diminishing returns." This is the feeling he conveys to you in his introduction.

THE DESIGNER of our radiant Heart of Darkness is that versatile and scholarly Philadelphian, Richard Ellis. The typeface he has chosen for the text is his own personal favorite, 16-point Deepdene.... Ellis himself carefully supervised the setting of the Heart of Darkness text.... The running heads are in Bembo. For the chapter titles [Ellis] returned to Deepdene italics.... Neither of these satisfied him for the chapter-opening initials, so he drew these, and then ran the next few lines of text in capitals. There's no mistaking that Ellis flair!
Language
English
Pages
117
Format
Hardcover
Release
January 01, 1899

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