Newsletter by DEFINITION, the Readers of This Newsletter Are Interested in the History of Printing
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Here I Raise My Ebenezer; Hither by Thy Help I’M Come; and I Hope, by Thy Good Pleasure, Safely to Arrive at Home
ANNUAL COMMENCEMENT WEEKEND 2021_commencement_program_v11a_draft.indd 1 4/30/2021 9:32:16 AM 2021_commencement_program_v11a_draft.indd 2 4/30/2021 9:32:16 AM ANNUAL COMMENCEMENT WEEKEND GREENVILLE UNIVERSITY Greenville, Illinois Commencement May 8, 2021 President Suzanne A. Davis Board of Trustees Robert W. Bastian Steven L. Ellsworth Hugo Perez Venessa A. Brown Valerie J. Gin, Treasurer B. Elliott Renfroe Tyler Campo Jerry A. Hood Dennis N. Spencer Howard Costley, Jr., Vice Chair Karen A. Longman Kathleen J. Turpin, Chair D. Keith Cowart K. Kendall Mathews Melissa A. Westover, Secretary Dan R. Denbo Douglas M. Newton Mark D. Whitlock Paul S. Donnell Stephen Olson Donald D. Wolf Emeriti Trustees Sandra M. Boileau Lloyd G. Ganton J. Richard Schien Patricia A. Burd Yoshio D. Gotoh Marjorie R. Smith Jay G. Burgess Duane E. Hood Rebecca E. Smith James W. Claussen Paul R. Killinger Kendell G. Stephens David G. Colgan Pearson L. Miller Barry J. Swanson Michael L. Coling Wayne E. Neeley Craig W. Tidball Robert E. Cranston Wesley F. Phillips R. Ian Van Norman Dennis L. Fenton Ernest R. Ross, Jr. 2021_commencement_program_v11a_draft.indd 3 4/30/2021 9:32:16 AM Saturday, May 8, 2021, 10:00 A.M. President Suzanne A. Davis, presiding PRELUDE Rebecca N. Koebbe PROCESSIONAL Rebecca N. Koebbe WELCOME Suzanne A. Davis NATIONAL ANTHEM The Star Spangled Banner Francis Scott Key INVOCATION Sidney R. Webster SCRIPTURE Ivan M. Estevez Ephesians 1:11 (TPT) HYMN Come, Thou Fount of Every Blessing Traditional American Melody Text: Robert Robinson Tune: Nettleton Come, Thou fount of every blessing, Tune my heart to sing Thy grace; Streams of mercy, never ceasing, Call for songs of loudest praise. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Alien Heads Found in Georgia
Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. It features a large x-height (tall lower-case letters) and its thin strokes are thicker than would be common on a typeface designed for display use or the higher resolution of print. Besides, Georgia's bold is also unusually bold and bolder than most bolds. Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. -
Special Collections in the Public Library
ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. Library Trends VOLUME 36 NUMBER 1 SUMMER 1987 University of Illinois Graduate School of Library and Information Science Whrre necessary, prrmisyion IS gr.inted by thr cop)right owncr for libraries and otherq registered with the Copyright Clearance Centrr (CXC)to photocop) any article herein for $5.00 pei article. Pay- ments should br sent dirrctly tn thr Copy- right Clraranrc Crnter, 27 Congiess Strert, Salem, blasaachusrtts 10970. Cop)- ing done for other than prrsonal or inter- nal reference usr-such as cop)iiig for general distribution, tot advertising or promotional purposrs. foi creating new collrctivc works, or for rraale-without the expressed permisyion of The Board of Trurtees of 'Thr University of Illinois is prohibited. Requests for special perrnis- sion or bulk orders should be addiessed to The GiaduateSrhool of L.ibrarv and Infor- mation Science, 249 Armory Building, 505 E Armory St., Champaizri, Illinois 61820. Serial-[re rodr: 00242594 87 $3 + .00. Copyright 6) 1987 Thr Board of Trusters of The Ilnivrisity of Illiiioia. Recent Trends In Rare Book Librarianship MICHELE VALERIE CLOONAN Issue Editor CONTENTS I. Recent Trends in Rare Book Librarianship: An Ormziiew Micht.le Valerie Cloonan 3 INTRODUCTION Sidney E. Berger 9 WHAT IS SO RARE...: ISSI ES N RARE BOOK LIBRARIANSHIP 11. Aduances in Scientific Investigation and Automation Jeffrey Abt 23 OBJECTIFYING THE BOOK: THE IMPACT OF- SCIENCE ON BOOKS AND MANUSCRIPTS Paul S. Koda 39 SCIENTIFIC: EQUIPMEN'I' FOR THE EXAMINATION OF RARE BOOKS, MANITSCRIPTS, AND DOCITMENTS Richard N. -
2010 Type Quiz
Text TypeCon 2010 Typographic Quiz Here’s How It Works 30+ Questions to Test Your Typographic Smarts Divided Into Two Parts Part One • 12 Questions (OK, 17) • First right answer to each question wins a prize • Your proctor is the arbiter of answer correctness Part Two • 18 Questions • Answers should be put on “quiz” sheets • Every correct answer to a multiple part question counts as a point • 33 Possible right answers What’s it worth? • There are the bragging rights... • How about the the Grand Prize of the complete Monotype OpenType Library of over 1000 fonts? There’s More... • Something special from FontShop • Gimme hats from Font Bureau • Industrial strength prizes from House Industries • TDC annual complements of the TDC And Even More... • Posters from Hamilton Wood Type Museum • Complete OpenType Font families from Fonts.com • Books from Mark Batty Publisher • Fantastic stuff from P22 And Even More... • Fonts & books & lots of great things from Linotype • Great Prizes from Veer – including the very desirable “Kern” sweatshirt • Font packs and comics from Active Images Over 80 prizes Just about everyone can win something Some great companies • Active Images • Font Bureau • Font Shop • Hamilton Wood Type Museum • House Industries • Linotype • Mark Batty Publisher • Monotype Imaging • P22 • Type Directors Club • Veer Awards • Typophile of the Year • The Doyald Young Typographic Powerhouse Award • The Fred Goudy Honorable Mention • Typographer’s Apprentice (Nice Try) • Typographically Challenged Note: we’re in L.A., so some questions may -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Man of Letters: Matthew Carter's Life in Type Design
MAN OF LETTERS Matthew Carter's life in type design BY ALEC WILKINSON Onward And Upward With The Arts; Pg. 56 December 5, 2005 Matthew Carter is often described as the most widely read man in the world. Carter designs typefaces. He is universally acknowledged as the most significant designer of type in America, and as having only one or two peers in Europe. A well regarded British type designer named Dave Farey once told a reporter, "There's Matthew Carter, and then there's the rest of us." Carter is sixty‐eight. He is British, and he lives in Cambridge, Massachusetts. He works in a room in his apartment. He has designed type for magazines such as Time, Newsweek, U.S. News & World Report, Sports Illustrated, Wired, National Geographic, and Business Week; and for newspapers, including the New York Times, the Washington Post, the Boston Globe, the Philadelphia Inquirer, and the Guardian, in London. He designed Verdana, for several years the signature typeface of Microsoft; Bell Centennial, the typeface used by A.T. & T. in the phone book; and type called Galliard, which has been used by the U.S. Postal Service on a stamp. Carter has a partner named Cherie Cone who lives in California and sees to the business side of their firm, which is called Carter & Cone Type. Recently, he's been engaged with three projects. One involved designing type for Le Monde, the French newspaper, which wanted a different appearance; one, still under way, is for Yale, where Carter teaches (the university wants a typeface for its official documents, its signs, and the work of its students and faculty); and the third was for the Times. -
RBMS Executive Committee Minutes ALA Annual Conference – New Orleans June 26, 2006 8:00 A.M
RBMS Executive Committee Minutes ALA Annual Conference – New Orleans June 26, 2006 8:00 a.m. - 11:30 a.m. Present: Katherine Reagan (Cornell University), Chair; E.C. Schroeder (Yale University), Vice- Chair/Chair-Elect; Elaine B. Smyth (Louisiana State University), Past-Chair; Danette R. Pachtner (Duke University), Secretary; Rachel Howarth (Harvard University), Member-at-Large; Jane M. Gillis (Yale University), Member-at-Large; Charlotte B. Brown (University of California, Los Angeles), Member-at-Large. Guests: Kathryn Beam (University of Michigan), Terry Belanger (University of Virginia, Rare Book School), Lois Fischer Black (North Carolina State University), Alvan Bregman (University of Illinois at Urbana-Champaign), John Buchtel (Johns Hopkins University), Steve Cox (University of Tennessee at Chattanooga), Mark Dimunation (Library of Congress), Christian Dupont (University of Virginia), Ellen Ellickson (Yale University), Sarah Fisher (University of Delaware), Nadine Gardner (National Endowment for the Humanities), E. K. Giese (University of Virginia, Rare Book School), Julie Grob (University of Houston), Hjordis Halvorson (Newberry Library), Barbara Heritage (University of Virginia, Rare Book School), Eric Holzenberg (Grolier Club), Elizabeth Johnson (Indiana University), Bill Joyce (Penn State University), Mike Kelly (New York University), Lynne King (ACRL Liaison), Deborah J. Leslie (Folger Shakespeare Library), Jeffrey Makala (University of South Carolina), Will La Moy (Syracuse University), Margaret Nichols (Cornell University), John Overholt (Harvard University), Barbara Paulson (National Endowment for the Humanities), Fernando Peña (Grolier Club), Mary Jane Petrowski (ACRL Liaison), Anne Posega (Washington University), Henry Raine (New York Historical Society), Marcia Reed (Getty Research Institute), Stephen Skuce (Massachusetts Institute of Technology), J. Daniel J. Slive (William Reese Company), Susan Walker (Yale University), Everett Wilkie. -
„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts. -
Georgia Vs Bodoni Y Y Y Y
Georgia, a relatively new serif typeface, was designed in 1993 by Matthew Carter. Microsoft adopted this typeface to be the serif companion to Verdana both of which were intended to be optimally read on a digital screen. Georgia was ironically used in the branding for the 1996 Olympic Games in Atlanta, Georgia. Georgia has many similarities with Times New Roman, but its differences make Georgia much more legible in the digital format. Over 200 years ago, Giambattista Bodoni designed a classic serif typeface that has been used prevalently in design ever since. The early versions of Bodoni were considered transitional but have since been altered to be a modern Didone typeface. Giambattista Bodoni looked to the ideas of John Baskerville when designing this font. He also studied the French type founders Pierre Simon Fournier and Firmin Didot and drew inspiration from their work but ultimately found his own style of typography. Although Bodoni is said to be difficult to read in digital format, printers have acceptedk Bodoni as a beautiful and classic typeface. Although Bodoni and Georgia are separated greatly by age, the both have roots in the transitional typeface catagory. Bodoni has developed over time to be a much more modern typeface, while Georgia has stayed truer to its original design. The greatest similarities to be found between Georgia and Bodoni are when they are bold and oblique. The serifs become much more rounded. Bodoni already has proven its longevity, and in a few hundred years, Georgia may prove to as well. Southern Charm Georgia vs Bodoni y y y y. -
Annual Report 2003-2004
Annual Report 2003-2004 Summary of Activities of the Melbern G. Glasscock Center for Humanities Research for 2003-2004 AWARDS Internal Faculty Release Fellows Awarded: 4 Four Release Fellows were awarded a semester's relief from teaching and a $1000 stipend to pursue research projects related to the Glasscock Center's theme for the year. The Fellows met fortnightly during their release semester and then organized a symposium showcasing the research they pursued. Stipendiary Faculty Fellows Awarded: 23 Stipendiary Fellows are selected each year by departments and interdisciplinary programs affiliated with the Glasscock Center. The Stipendiary Fellows participate in the Glasscock Center’s activities and receive a research stipend of $1500. Visiting Fellows Awarded: 2 Two visiting fellows were in residence in spring 2004 for a week each. They each presented a public lecture, participated in the works-in-progress colloquium, taught graduate seminars, met with Internal Faculty Release Fellows, and made themselves available to humanities scholars here. Support of Symposia and Notable Lectures Awarded: 7 Awards of up to $4000 in matching funds are made each year to support symposia, small conferences, and notable lectures on humanities topics. Co-sponsorship Grants Awarded: 28 Requests for up to $400 in matching funds are considered monthly by the Glasscock Center’s Advisory Committee to co-sponsor a wide range of humanities-related events, from visiting speakers to artistic performances and public readings. Humanities Working Group Grants Awarded: 8 Up to $1500 in annually renewable support is available for self-constituted groups of faculty and students who are engaged in exploration of thematically related humanities research questions. -
An Enlightened Modern Digital Typeface “The Quick Brown Fox
An Enlightened Modern Digital Typeface The Georgia typeface is the typeface that was used in this entire assignment. This typeface was created in 1993 by Matthew Carter. It roots are in the Scotch Roman designs of the 19th century and is a revival of transitional serif designs1. It is a testament to the skill of Matthew Carter, it’s designer, in producing a typeface family which is legible for on-screen display coupled with a sense of friendliness whereas this intimacy attribute has been eroded from the Times New Roman typeface2. As for the influence from the Scotch Roman it is said of this that “The influence of the Scotch model on Georgia is most clearly seen in the horizontal top serifs of the lowercase b, d, h, k and l, and by the flat top of the lowercase t, a typographic allusion to the typeface’s roots in Didot.”3 Referring to the sentence below, “The quick…..lazy dog. 1234567890”. The Georgia typeface has a large x-height which makes it seem more even on the page4. It has strong modulation (note the “a”) and a vertical axis (note the “o”). These characteristics, along with having serifs, make it a modern serif typeface5. However, the serif is not fully an unbracketed serif. Again, as noted in the first paragraph, Georgia has roots in Scotch Roman typography. “The quick brown fox jumps over the lazy dog. 1234567890”. 1 From Wikipedia “Georgia (typeface). Available at: https://en.wikipedia.org/wiki/Georgia_(typeface). Accessed May 1, 2016 2 From Microsoft. Available at: https://www.microsoft.com/typography/ Accessed May 1.