DOCSLIB.ORG

Indie Fonts 2 Book Layout2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Essay: Typocurious, and how to stay that way. By Peter Bain Your first reaction is probably amazement at how many typefaces there are. After further investigation, it dawns on you that there may be more to type and typography than just scrolling through a list of available fonts. The challenge of trying out all those styles beckons. You vow never to use Arial again... With computers, type users can be players in a typographic culture, not just font fans. If this sounds impressive, that’s because the opportunity is there. To provide you with maximum stimulation and nourishment, about 13 items were selected for the typographically curious. The introductory descriptions that follow are meant to inspire you to seek them out at bookstores, libraries, and on the shelves of typofriends. Advanced grasshoppers will want to join in the fun, comparing their own picks with these personal choices. That popular eurostyle Shopping for new furniture can be intimidating. You might want something with a modern look, but aren’t sure where to start. You’ll be relieved to know that typographic design does have its own modern masters. One name worth learning is that of Jan Tschichold, who championed the avant garde, only to become more conservative when his tastes changed. He recorded his formidable knowledge in various publications; his manual for moderns is a must-read. Noticed that sans serif type is the height of fashion? The influence of so-called swiss design, or European-trained designers and teachers, encouraged this trend. In Basel, Emil Ruder formulated his rationale for going sans serif. His engagingly illustrated typographic manual continues to inspire. This is a useful stop on the way to grids and Joseph Müller-Brockmann. Jan Tschichold. Asymmetric Typography. Trans. by Ruari McLean. New York: Reinhold Publishing; Toronto: Cooper & Beatty; and London: Faber, 1967. Emil Ruder. Typography: A Manual of Design. Teufen AR, Switzerland: Arthur Niggli, 1967, 1st ed. Sulgen/Zurich, Switzerland: Verlag Niggli, 2001, 7th ed. Seeking to become a better person? Take a fulfilling path toward humility and greater attention to detail. Be led from the darkness of ignorance into the light of self-knowledge concerning careful line breaks, word spacing, and the differences between composition standards. Robert Bringhurst’s Elements of Typographic Style is a commendable reference, yet your most humble compiler maintains a few quibbles. Accessible guidance for typographic seekers is available from Betty Binns, who mindfully explores the rhythms of body copy, and from Geoffrey Dowding, who heightens our awareness of both text and display type. These helpful gurus show why the fussy stuff really matters. Betty Binns. Better Type. New York: Watson-Guptill, 1989. Geoffrey Dowding. Finer Points in the Spacing and Arrangement of Type. London: Wace and Co., 1966. Vancouver: Hartley & Marks, revised edition, 1995. Old school Back in the day when display type could be expensive, you had an alternative. You could invent a new style or rework an existing one, hiring someone (or yourself) to draw the letters needed by hand. Handlettering artists developed insights into typographic shape and weight as valid today as they were in the heyday of vinyl LPs. Aspiring type designers now look to Fred Smeijers’ Counterpunch, Walter Tracy’s Letters of Credit, and Doyald Young’s Fonts and Logos. But David Gates lays Typocurious 777 down a solid groove, deftly explaining aspects of letterform design others may not cover. In an expressive mode, Tommy Thompson plays through a range of scripts, improvising on past masters. David Gates. Lettering for Reproduction. New York: Watson-Guptill, 1969. Tommy Thompson. Script Lettering for Artists. (originally The Script Letter, 1955) New York: Dover Publications, 1965. Breakthrough Eighties and Nineties hits When some upstart Bay Area designers wanted to get noticed, they opted for the print version of college radio. They named their indepen- dent zine after their experiences crossing borders. Desktop publishing was beginning, so technology got thrown into the mix, too. The result was a magazine that had an explosive impact. The first 32 issues of Emigre were in a large format that seems luxurious today. It was a powerful platform for presenting work from outside the mainstream of graphic design, and provided room for new criticism. Emigre had a similar interest in new approaches to typography and type- face design. If you’ve never had a chance to go through the back issues, you don’t know what you’re missing. Emigre, since 1984. Experimenting on the reader Guinea pigs and readers have more in common than you might think. Any reader who isn’t the originating designer becomes a kind of test subject, usually without suffering any adverse effects. But you may wonder just where the boundaries of legibility and readability fall. If you want to get a better understanding of these concepts, a tour of the typographic laboratory is in order. Herbert Spencer was an inquisitive, accomplished designer/editor/author who sought out typographic experimentation. While there are newer treatments of the psychology of reading, his book remains a key introduction to studies of reading. Herbert Spencer. The Visible Word. New York: Hastings House and London: Lund Humphries, 1969. An unexpected tour There are fine books on the history of typefaces, charting when they were first cut or used, and what we still may not know. But the history and variety of letterforms is far deeper. Artists working with letters have been busy over the past two thousand years. Their efforts, whether cut in stone, worked into metal, woven in fabric, or written on vellum, can be astonishing. This is a tour going around the corners and down the 778 Typocurious side streets of letterforms, without neglecting familiar landmarks. The notes in these books, whether in the main text or following the pictures, are your expert commentary. Both Nicolete Gray and Jan Tschichold want to make sure that you appreciate the sights. Nicolete Gray. A History of Lettering: Creative Experiment and Letter Identity. Boston: David R. Godine, 1986. London: Phaidon Press, 1986. Jan Tschichold. Treasury of Alphabets and Lettering. New York: Reinhold, 1966; New York: Design Press, McGraw-Hill, 1992; and New York: W. W. Norton, 1995. Essay questions What is typography for, really? Why print something? What purposes does that serve? Gutenberg’s invention of movable type changed Western society. Elizabeth Eisenstein’s readable, scholarly account of the original demand for and effects of print offers a valuable perspective on this true paradigm shift. It will spur your thinking into the roles of electronic writing. Robin Kinross takes a different tack, examining typography in the context of design and practice, with special attention to the past century. The story of how designers and typographers developed their ideas makes his book compelling. The reproductions are carefully captioned, adding a visual counterpart to the narrative. If you read both books, you’re sure to be a hit at cocktail parties near campus. Elizabeth Eisenstein. The Printing Press as an Agent of Change. London and New York: Cambridge University Press, 1979. Robin Kinross. Modern Typography: An essay in critical history. London: Hyphen Press, 1992. A few closing words Blah, blah-blah blah, blah blah-ah, blah, bluh. Without words, type wouldn’t be any fun; it wouldn’t have much meaning, either. Language is the flip side of typography. How the two relate, and exploring the methods used in typography, are the subjects of Cal Swann’s deceptively simple book. He covers everything from decision-making charts to linguistic theories of meaning in a clear, unpretentious way. Cal Swann. Language and Typography. New York: Van Nostrand Reinhold, 1991. Write on, and keep on typographing. Peter Bain is principal of Incipit (www.incipit.com), a New York design studio whose practice is built upon letters. Projects undertaken for clients include custom typefaces, logotypes, handlettering, and typographic design. Bain has studied, specified, collected, curated, and lectured on typography, and still likes it. Typocurious 779.
Recommended publications
  • How Modern Is the French Revolution?

    How Modern Is the French Revolution?

    Review Essay Paradigms and Paranoia: How Modern Is the French Revolution? REBECCA L. SPANG It is a truth, widely acknowledged, that the study of history has changed dramatically 1 since the end of World War II. Cliometrics has come and gone; the new social history has become old hat; narrative has been revived. Structuralist approaches associated, at least in part, with the Annales school, have been superseded by the notionally poststructuralist turns of the linguistic screw; total history has yielded to micro history; we all recognize Eurocentrism when we see it. How surprising it is, then, to note how remarkably constant textbooks have been in 2 assessing the import of the French Revolution. From classics of Cold War "Western" historiography to recent efforts to write history within a global framework, the fundamental message remains the same: the Revolution of 1789 is the turning point of the modern world. 1 The wording may vary, but the substance does not. Said to mark "the beginning of modern history," the French Revolution is deemed "a decisive event in world history" that initiated a "century of rapid and tremendous change"; after the events of 1789–1815, "the clock could not really be set back." 2 Authors may emphasize different aspects of this modern period—political Liberalism, triumphant individualism, nationalistic militarism—but their accounts coincide in treating the revolution as an identifiable period of rapid, irreversible change. An evocative but, in this non-geological context, far from precise word—watershed—has provided one popular metaphor for conveying some sense of the revolution's relation to modernity.
  • The Unacknowledged Revolution

    The Unacknowledged Revolution

    Elizabeth L. Eisenstein. The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early-Modern Europe. Cambridge and New York: Cambridge University Press, 1997. xxi + 794 pp. $54.95, paper, ISBN 978-0-521-29955-8. Reviewed by Shannon E. Duffy Published on H-Ideas (June, 2000) [Note: This review is part of the H-Ideas Ret‐ Ancient and Medieval scribes had faced tremen‐ rospective Reviews series. This series reviews dous difficulties in preserving the knowledge that books published during the twentieth century they already possessed, which, despite their best which have been deemed to be among the most efforts, inevitably grew more corrupted and frag‐ important contributions to the feld of intellectual mented over time. With the establishment of history.] printing presses, accumulation of knowledge was Elizabeth Eisenstein's comprehensively-re‐ for the frst time possible. Rather than spending searched 1979 book is a study of the frst century most of their energies searching for scattered of printing, particularly the period from 1460 to manuscripts and copying them, scholars could 1480, when printing presses went from rare to now focus their efforts on revision of these texts common, and as a consequence changed the way and the gathering of new data. New observations knowledge was preserved and conveyed. It is pri‐ from a widely scattered readership could be in‐ marily a work of synthesis, although Eisenstein cluded in subsequent editions. According to Eisen‐ displays a masterful knowledge of the relevant stein, the shift to printing reversed the whole ori‐ primary materials. Her goal is to show how intel‐ entation of attitudes towards learning.
  • A Quantitative Study of History in the English Short-Title Catalogue (ESTC), 1470–18001

    A Quantitative Study of History in the English Short-Title Catalogue (ESTC), 1470–18001

    Vol. 25, no. 2 (2015) 87–116 | ISSN: 1435-5205 | e-ISSN: 2213-056X A Quantitative Study of History in the English Short-Title Catalogue (ESTC), 1470–18001 Leo Lahti Laboratory of Microbiology, Wageningen University, The Netherlands [email protected] Niko Ilomäki Department of Computer Science, University of Helsinki, Finland [email protected] Mikko Tolonen Department of Modern Languages, University of Helsinki, Finland [email protected] Abstract This article analyses publication trends in the field of history in early modern Britain and North America in 1470–1800, based on English Short- Title Catalogue (ESTC) data.2 Its major contribution is to demonstrate the potential of digitized library catalogues as an essential scholastic tool and part of reproducible research. We also introduce a novel way of quantita- tively analysing a particular trend in book production, namely the publish- ing of works in the field of history. The study is also our first experimental analysis of paper consumption in early modern book production, and dem- onstrates in practice the importance of open-science principles for library and information science. Three main research questions are addressed: 1) who wrote history; 2) where history was published; and 3) how publishing changed over time in early modern Britain and North America. In terms This work is licensed under a Creative Commons Attribution 4.0 License Uopen Journals | http://liber.library.uu.nl/ | URN:NBN:NL:UI:10-1-117388 Liber Quarterly Volume 25 Issue 2 2015 87 A Quantitative Study of History in the English Short-Title Catalogue (ESTC), 1470–1800 of our main findings we demonstrate that the average book size of history publications decreased over time, and that the octavo-sized book was the rising star in the eighteenth century, which is a true indication of expand- ing audiences.
  • Sustainable Socialism: William Morris on Waste Elizabeth C

    Sustainable Socialism: William Morris on Waste Elizabeth C

    The Journal of Modern Craft Sustainable Socialism: Volume 4—Issue 1 William Morris on March 2011 pp. 7–26 Waste DOI: 10.2752/174967811X12949160068974 Elizabeth C. Miller Reprints available directly from the publishers Photocopying permitted by Elizabeth Carolyn Miller is Associate Professor of English at licence only the University of California, Davis. She is currently working © Berg 2011 on a book titled Slow Print: Print Culture and Late-Victorian Literary Radicalism. Her first book, Framed: The New Woman Criminal in British Culture at the Fin de Siècle, was published in 2008, and her articles have appeared in Modernism/Modernity, Feminist Studies, Literature Compass, Victorian Literature and Culture, The Journal of William Morris Studies, The Henry James Review, and elsewhere. Abstract While William Morris has long been recognized for his radical approach to the problem of labor, which built on the ideas of John Ruskin and informed his contributions to the Arts and Crafts philosophy, his ideas about waste have received much less attention. This article suggests that the Kelmscott Press, which Morris founded in 1891, was designed to embody the values of durability and sustainability in sharp contrast to the neophilia, disposability, and planned obsolescence of capitalist production. Many critics have dismissed the political value of Kelmscott Press on the basis of the handcrafted books’ expense and rarity, but by considering Morris’s work for Kelmscott in light of his fictional and non-fictional writings about waste around the time of the press’s conception, we can see how Kelmscott laid the groundwork for a philosophy of sustainable socialism. Keywords: William Morris, Kelmscott Press, printing, waste.
  • Syllabus History 615 Fall 2008

    Syllabus History 615 Fall 2008

    History 615: Topics in Early Modern Europe University of Massachusetts Amherst, Fall 2008, class # 78025 Tuesday 1-3:30 p.m., Massachusetts Center for Renaissance Studies Course website: http://people.umass.edu/ogilvie/615/ Professor Brian Ogilvie, Herter 614, 545-6791, [email protected] Office hours: M 11:15-12, Tu 10-11:30, W 11:15-12, and by appointment Course description An introduction to classic interpretations, recent scholarship, and sources in intellectual history, cultural history, and the history of science, c. 1450-1700. Topics will include humanism and scholarship, natural philosophy and science, witchcraft and the occult, the arts, the organization of literary and intellectual life, and circulation of knowledge between different disciplinary and national contexts. Assignments will include a review, an annotated bibliography and bibliographical essay, and a historiographical synthesis. Interested students may continue with a research seminar in the spring. Course structure This course is a seminar. We will meet each week for about 2.5 hours, with a brief pause about halfway through. Except for the first week, the first part of each meeting will be led by two student presenters. After the break, we will focus on practical research methods and skills for approaching early modern European intellectual and cultural history, often drawing on the resources available at the Renaissance Center. The seminar format places much of the burden of learning on you and your fellow students. Not preparing for discussions will harm them as well as you. Though presenters will organize and lead the discussion, you should come prepared to every class; otherwise you’ll be letting them down.
  • Introduction 1

    Introduction 1

    introduction 1 CHAPTER ONE INTRODUCTION How many manuscripts currently survive in the world? What frac- tion of manuscripts has been lost since their production? What num- bers of manuscripts were copied in the last two millennia and where were they copied? Can certain numbers of manuscripts be seen as an indicator of medieval output? Th is study was triggered by such questions as well as plain curiosity. We should begin by posing a preliminary question before we start answering our fi rst question on the numbers of manuscripts currently surviving worldwide. What do we mean when we use the word man- uscript in this study? Th ough the question sounds simple, the answer is not. A hand-written text, literally a manuscript, can be written on all kinds of materials. Oft en only part of the original text may still survive aft er a couple of centuries of use. Occasionally tiny scraps of parchment may be found in the bindings of Early Modern printed books, they are all that is left of what once was a medieval manu- script. Such scraps, cuttings or loose leaves are called codicological entities, and as such we treat them similarly to complete manuscripts. In the chapter on methodology, in Paragraph 2.1, we will start by defi ning what we consider to be a manuscript. One should realise that manuscript production estimates given in our study do not include texts that are essentially single sheet manuscripts (as deeds or charters), nor do our numbers include scraps of papyrus or frag- ments of letters deposited in repositories at synagogues or mosques.
  • Review of Zeev Gries, the Book in the Jewish World 1700-1900

    Review of Zeev Gries, the Book in the Jewish World 1700-1900

    University of Pennsylvania ScholarlyCommons Scholarship at Penn Libraries Penn Libraries 12-2008 Review of Zeev Gries, The Book in the Jewish World 1700-1900 Arthur Kiron University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/library_papers Part of the Jewish Studies Commons, and the Library and Information Science Commons Recommended Citation Kiron, A. (2008). Review of Zeev Gries, The Book in the Jewish World 1700-1900. Judaica Librarianship, 14 80-87. http://dx.doi.org/10.14263/2330-2976.1075 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/library_papers/95 For more information, please contact [email protected]. Review of Zeev Gries, The Book in the Jewish World 1700-1900 Abstract An important milestone in the study of the Jewish book was marked in 2002 with the publication of Ze'ev Gries's ha-Sefer ke-sokhen tarbut, be-shanim 1700-1900 ("The Book as an Agent of Culture, 1700-1900"). In this "slim volume," as he subsequently and modestly would refer to it, Gries introduced his readers to what he calls in Hebrew "toldot ha-sefer ha-Yehudi" (the "History of the Jewish book"). The book, based on his twenty-five previous years of research in the field, offered new insights and raised new questions. Thanks to this 2007 English-language edition, Gries's scholarship happily can reach a broader audience. Moreover, as Gries explains in his preface to the English edition, "the present volume draws heavily on (the Hebrew edition) but is not a direct translation." At the same time, Gries acknowledges and thanks Jeffrey Green for translating the original "Hebrew text as the basis of the present book." Originally published in Hebrew by ha-J9buts ha-me'ul).ad at the suggestion of its founding editor, Meir Ayali, the English edition is published appropriately by the Littman Library of Jewish Civilization, a cultural broker that brings to the English reading public important works of classical Jewish literature and modern scholarship that were originally written in Hebrew.
  • Printing, Propaganda, and Public Opinion David

    Printing, Propaganda, and Public Opinion David

    Printing, Propaganda, and Public Opinion David Bagchi ___________________________________________________________________________ Summary Luther had a notoriously ambivalent attitude towards what was still the new technology of the printing press. He could both praise it as God’s highest act of grace for the proclamation of God’s Word, and condemn it for its unprecedented ability to mangle the same beyond recognition. That ambivalence seems to be reflected in the judgment of modern scholarship. Some have characterized the Reformation as a paradigmatic event in the history of mass communications (a Medien- or Kommunikationsereignis), while others have poured scorn on any reductionist attempt to attribute a complex movement to a technological advance and to posit in effect a doctrine of ‘Justification by Print Alone’. The evidence in favour of some sort of correlation between the use of printing and the success of the Reformation in Germany and Switzerland is certainly formidable. Thousands of German Reformation pamphlets (Flugschriften) survive to this day in research libraries and other collections (with Luther’s own works predominant among them), suggesting that the Holy Roman Empire was once awash with millions of affordable little tracts in the vernacular. Contemporary opponents of the Reformation lamented the potency of cheap print for propaganda and even for agitation among ‘the people’, and did their best either to beat the evangelical writers through legislation or else to join them by launching their own literary campaigns. But, ubiquitous as the Reformation Flugschrift was for a comparatively short time, the long-term impact of printing on Luther’s Reformation was even more impressive, above all in the production and dissemination of Bibles and partial Bibles which used Luther’s German translation.
  • Travelling Chronicles

    Travelling Chronicles

    Travelling Chronicles <UN> Library of the Written Word volume 66 The Handpress World Editor-in-Chief Andrew Pettegree (University of St Andrews) Editorial Board Ann Blair (Harvard University) Falk Eisermann (Staatsbibliothek zu Berlin – Preuβischer Kulturbesitz) Ian Maclean (All Souls College, Oxford) Alicia Montoya (Radboud University, Nijmegen) Angela Nuovo (University of Udine) Helen Smith (University of York) Mark Towsey (University of Liverpool) Malcolm Walsby (University of Rennes) Arthur der Weduwen (University of St Andrews) volume 51 The titles published in this series are listed at brill.com/lww <UN> Travelling Chronicles News and Newspapers from the Early Modern Period to the Eighteenth Century Edited by Siv Gøril Brandtzæg Paul Goring Christine Watson leiden | boston <UN> This is an open access title distributed under the terms of the prevailing cc-by-nc-nd License at the time of publication, which permits any non-commercial use, and distribution, provided no alterations are made and the original author(s) and source are credited. Cover illustration: [News vendors at Bristol] Woodward del.; Cruikshank d. London: Pubd. by Allen & West, 15 Paternoster Row, Octr. 22, 1796. Courtesy of The Lewis Walpole Library, Yale University. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov lc record available at http://lccn.loc.gov/2018001107 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1874-4834 isbn 978-90-04-34040-4 (hardback with dustjacket) isbn 978-90-04-36287-1 (e-book) Copyright 2018 by the Editors and Authors. This work is published by Koninklijke Brill nv.

  • Sustainable Socialism: William Morris on Waste

    The Journal of Modern Craft ISSN: 1749-6772 (Print) 1749-6780 (Online) Journal homepage: http://www.tandfonline.com/loi/rfmc20 Sustainable Socialism: William Morris on Waste Elizabeth C. Miller To cite this article: Elizabeth C. Miller (2011) Sustainable Socialism: William Morris on Waste, The Journal of Modern Craft, 4:1, 7-25 To link to this article: http://dx.doi.org/10.2752/174967811X12949160068974 Published online: 16 Apr 2015. Submit your article to this journal Article views: 36 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rfmc20 Download by: [University of California Davis] Date: 07 February 2016, At: 18:25 The Journal of Modern Craft Sustainable Socialism: Volume 4—Issue 1 William Morris on March 2011 pp. 7–26 Waste DOI: 10.2752/174967811X12949160068974 Elizabeth C. Miller Reprints available directly from the publishers Photocopying permitted by Elizabeth Carolyn Miller is Associate Professor of English at licence only the University of California, Davis. She is currently working © Berg 2011 on a book titled Slow Print: Print Culture and Late-Victorian Literary Radicalism. Her first book, Framed: The New Woman Criminal in British Culture at the Fin de Siècle, was published in 2008, and her articles have appeared in Modernism/Modernity, Feminist Studies, Literature Compass, Victorian Literature and Culture, The Journal of William Morris Studies, The Henry James Review, and elsewhere. Abstract While William Morris has long been recognized for his radical approach to the problem of labor, which built on the ideas of John Ruskin and informed his contributions to the Arts and Crafts philosophy, his ideas about waste have received much less attention.

  • Fall-Spring 02-03 History 3010 Exam Field Preparation in Early Modern

    Fall-Spring 02-03 History 3010 Exam field preparation in Early modern France 1450-1715 and/or Early modern Europe 1450-1715 Students are invited to form their personal reading list for their general exam field from this list, by selecting from it and adding to it according to their particular needs and interests. Students should try to gain familiarity with as many of these books as possible, while selecting a smaller number for careful reading. * indicates must-reads for all students S indicates that the book is available for purchase in paperback Part I (Fall 02): structures of the Ancien Regime Fri 9/20: organizational meeting Special session at Houghton Library: Thurs 9/26, 2-4:30 with Hist 2320 Meet in Houghton Library Lobby. *Febvre and Martin, The Coming of the Book (1976) Rudolf Hirsch, Printing, Selling and Reading 1450-1550 (1967) Elizabeth Eisenstein, The Printing Revolution in Early Modern Europe (1983)or The Printing Press as an Agent of Change (1979) Anthony Grafton, "The Importance of Being Printed," Journal of Interdisciplinary History (1980) for more references, consult reading lists for Hist 1318 Session I (Fri 9/27): French historiography and geography *Peter Burke, French historical revolution: the Annales School 1929-89 (S)(1990) *Fernand Braudel, The Identity of France, vol. 1 (1988) Stuart Clark, ed. The Annales School. Critical assessments, 4 vols. (vols. 1-2 general issues; vol. 3 on Braudel; vol. 4 on Febvre, Bloch, Goubert among others) (1999) Roger Chartier, "The Two Frances: The History of a Geographical Idea," Cultural History: Between Practices and Representations (1988) (photocopy).
  • Professor Elizabeth Eisenstein

    Professor Elizabeth Eisenstein

    The Independent Scholar Vol. 2 (September 2016) ISSN 2381-2400 TIS The Independent Scholar A peer-reviewed interdisciplinary journal ISSN 2381-2400 Volume 2 (September 2016) General Editor Shelby Shapiro [email protected] Humanities Editor STEM Editor Amanda Haste Joan Cunningham [email protected] [email protected] OPEN ACCESS CONTENTS FROM THE EDITOR ABOUT THE AUTHORS CRITICAL ESSAYS BOOK REVIEWS NOTES FOR CONTRIBUTORS Disclaimer Although the articles presented in The Independent Scholar have been subjected to a robust peer review process to ensure scholarly integrity, the views expressed by contributors are not necessarily those of the TIS editorial board or of NCIS. The Independent Scholar Vol. 2 (September 2016) ISSN 2381-2400 ELIZABETH L. EISENSTEIN (1921-2016) NCIS and scholars worldwide join in mourning the death of historian Elizabeth Lewisohn Eisenstein. Her pioneering work on the effects of the Gutenberg Press laid the theoretical and factual groundwork for the field today known as Print Culture or Book History. A native of New York City, she obtained her BA at Vassar College and her MA and Ph.D. degrees from Radcliffe. She came from a prominent German-Jewish family in Manhattan: Lewisohn Stadium, a Doric-colonnaded amphitheater built on the campus of the City College of New York in 1915 and demolished in 1973, and Columbia University’s Lewisohn Hall were named after her paternal grandfather Adolph Lewisohn, a financier, mining magnate and philanthropist. Today she is best remembered for her two-volume classic, The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early Modern Europe.