Designer’s Notes

From: 1 Peter

In lieu of an abstract, here is a brief excerpt of the content:

Designer's Notes In the design of the visual aspects of Hermeneia, consideration has been given to relating the form to the content by symbolic means. The letters of the logotype Hermeneia. are a fusion of forms alluding simultaneously to Hebrew (dotted vowel markings) and Greek (geometric round shapes) letter forms. In their modern treatment they remind us of the electronic age as well, the vantage point from which this investigation of the past begins. The Lion ofJudah used as visual identification for the series is based on the Seal of Shema. The version for Hermeneia is again a fusion of Hebrew calligraphic forms, especially the legs of the lion, and Greek elements characterized by the geometric. In the sequence of arcs, which can be understood as scroll-like images, the first is the lion's mouth. It is reasserted and accelerated in the whorl and returns in the aggressively arched tail: tradition is passed from one age to the next, rediscovered and re-formed. "Who is worthy to open the scroll and break its seals....• Then one of the elders said to me "weep not; lo, the Lion of the tribe of David, the Root of David, has conquered, so that he can open the scroll and its seven seals.· Rev. 5:2, 5 To celebrate the signal achievement in biblical scholarship which Hermeneia represents, the entire series will by its color constitute a signal on the theologian's bookshelf: the Old Testament will be bound in yellow and the New Testament in red, traceable to a commonly used color coding for synagogue and church in medieval painting; in pure color terms, varying degrees of intensity of the warm segment of the color spectrum. The colors interpenetrate when the binding color for the Old Testament is used to imprint volumes from the New and vice versa. Wherever possible, a photograph of the oldest extant manuscript, or a historically significant document pertaining to the biblical sources, will be displayed on the end papers of each volume to give a feel for the tangible reality and beauty of the source material. The title-page motifs are expressive derivations from the Hermeneia logotype, repeated seven times to form a matrix and debossed on the cover of each volume. These sifted-out elements will be seen to be in their exact positions within the parent matrix. These motifs and their expressional character are noted on the following page. 422 Half-titles to introduce the volume in question are further derivations from the main title and may include other expressive or pictorial elements. In First Peter the swath ofdots forms a dominant stream against which two dots are in dynamic tension. "Appropriate conduct" is a weighing and balancing of two directions. Horizontal markings at gradated levels on the spine will assist in grouping the volumes according to these conventional categories. The type has been set with unjustified right margins so as to preserve the internal consistency of word spacing. This is a major factor in both legibility and aesthetic quality; the resultant uneven line endings are only slight impairments to legibility by comparison. In this respect the type resembles the handwritten manuscripts where the quality of the calligraphic writing is dependent on establishing and holding to integral spacing patterns. All of the type faces in common use today have been designed between A.D. 1500 and the present. For the biblical text a face was chosen which does not arbitrarily date the text, but rather one which is uncompromisingly modern and unembellished so that its feel is of the universal. The type style is Univers 65 by Adrian Frutiger. The expository texts and footnotes are set in Baskerville, chosen for its compatibility with the many brief Greek and Hebrew insertions. The doublecolumn format and the shorter line length facilitate reading and the wide margins to the left of footnotes provide for the scholar's own notations. Kenneth Hiebert Ic. I I I ~ 1"'\ • ~ 1"'\ • .. ~ 1"'\ • .. ~ 1"'\ • ... .. ~ • 1"'\ • . ~ 1"'\ • ~ 1"'\ . h ~r:'\ • ..·' .. ( <:' ~<:'1 <:' •• <:'••<:' <:'..<:' <:' • • <:' <:'• • • <:'• • • I I I ~. h<:'(~<:'~<:'i~ ~ ~·~ . .. ~ ~. .. . r:'\ • .·' .. Category of biblical writing, key symbolic characteristic, and volumes so identified. Law (boundaries described) Genesis Exodus Leviticus Numbers Deuteronomy 2 History (trek through time and space) Joshua Judges Ruth I Samuel 2 Samuel I Kings 2 Kings I Chronicles 2 Chronicles Ezra Nehemiah Esther 3 Poetry (lyric emotional expression) Job Psalms Proverbs Ecclesiastes Song of Songs 4 Prophets (inspired seers) Isaiah Jetemiah Lamentations Ezekiel Daniel Hosea Joel Amos Obadiah Jonah Micah Nahum Habakkuk Zephaniah Haggai Zechariah Malachi 5 New Testament Narrative (focus on One) Matthew Mark Luke John Acts 6 Epistles (directed instruction) Romans I Corinthians 2 Corinthians Galatians Ephesians Philippians Colossians I Thessalonians 2 Thessalonians I Timothy 2 Timothy Titus Philemon Hebrews James I Peter 2 Peter I John 2John 3John Jude 7 Apocalypse (vision of the future) Revelation 8 Extracanonical Writings (peripheral records) 423 ...