DOCSLIB.ORG

Newsletter by DEFINITION, the Readers of This Newsletter Are Interested in the History of Printing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Newsletter by DEFINITION, the Readers of This Newsletter Are Interested in the History of Printing Finding Your Type Online Newsletter BY DEFINITION, the readers of this newsletter are interested in the history of printing. You’ve read Number about methods and techniques and may have set Summer a few lines of type. You may even teach a course or two related to history of printing and dip into library collections to show students the product of the hand press or hot-metal period. But let’s take this one step further. How many of you col- Digital Monticello lect old printing equipment? Granted, few of us ON FEBRUARY three printing and type orga- can collect all the diff erent Linotype machines or nizations—APHA, ( e Type Directors Club and iron handpresses (though I do know of a couple SOTA (( e Society of Typographic Afi cionados)– people who are trying to do this), but there are banded together to sponsor a talk at the Grolier smaller items that can fi t into small houses and Club by Charles Creesy and Matthew Carter apartments without irritating spouses or partners on the design of the new digital version of too much. ( ink of printing plates, composing Monticello. sticks, type, binder’s tools, type molds, matrices, ( e evening was led off by Creesy, current di- cases, table-top presses, mimeographs, and other rector of publishing technologies for the Princeton items that weigh less than pounds and fi t University Press, who began by explaining the on a table top. Many of us can explain to others connection between ( omas Jeff erson and James about how something was printed, but showing Ronaldson of the Binny Ronaldson type- them the actual equipment is much more useful. foundry in Philadelphia. With the aid of an over- Imagine trying to explain the process of making head projector he displayed and read from let- an electrotype printing plate, and then think how ters between the two men discussing not only much easier it would be if you have one on hand. type but also sheep-raising. It is the link be- ( e trick is fi nding the stuff . tween Jeff erson and Ronaldson that provided Over the past fi ve years, I’ve spent anywhere the pretext for P. J. Conkwright’s decision in the from one to four weeks each year volunteering late s to commission a new typeface from for Rare Book School (RBS) in Charlottesville, Mergenthaler Linotype for use in the Princeton VA, where Terry Belanger has amassed an amaz- University Press edition of e Papers of omas ing collection of printing equipment to show stu- Jeff erson. Linotype’s C. H. Griffi th developed dents. When I fi rst worked for him, we discussed Monticello based on a type cut by Archibald items missing from the collection. I also was eager Binny and later released by ATF as Oxford. Creesy to put together a collection of my own to show also showed some of the correspondence between students. In the BI (before Internet) age, it was Conkwright and Griffi th over details of the type a slow process to locate used lithograph stones, design. For instance, to solve the inherent duplex- engraved wood blocks, wood type, etc. You spent ing problem of all Linotype faces, they cut an al- years letting people know what you wanted, ternate italic as well as special kerned f characters poked around old print shops, and slowly built and long descenders. up a network of contacts. Just as with used and Matthew Carter then took over the story to antiquarian books, the Internet has provided a explain why Princeton University Press had de- powerful additional tool for those who wish to cided to commission him to design a new, digital collect printing equipment. In the past fi ve years, version of Monticello. ( e hot metal Linotype I’ve managed to fi nd for RBS engraved copper version of Monticello had been replaced nearly and steel plates, woodblocks, binder’s stamps, continued on page continued on page APHA Newsletter · Summer · www.printinghistory.org · Contributing Members · Monticello continued from page Martin Antonetti Kay Michael Kramer thirty years ago at the Press by a fi lm version Whitney S. Bagnall Beth Kubly that Mergenthaler Linotype made in . ( e Georgia B. Barnhill Rick Kusick latter solved the duplexing problem of the original Jeff rey A. Barr Jennifer B. Lee design, but it was replaced in the s by an in- Jeff rey L. Baskin Jethro K. Lieberman adequate digital version. ( rough these iterations Sigmund A. Batruk Michael W. Lora the original metal design had increasingly lost its Mark J. Batty Lucy Marks character, and so, with the target date for comple- Terry Belanger Gordon Marshall tion of the Jeff erson Papers project looming, the John Bidwell Jeff rey Martin Press decided to once again commission a version ( omas T. Bishop Eric May of Monticello. Hayward R. Blake Jane R. Moore Instead of returning to the original Archibald Garrett Boge Irving Oaklander Binny typeface that had inspired Conkwright and Barbara A. Brannon Michael A. Peich Griffi th (or to the metal Monticello), Carter chose Arthur Merrill Brown, III Stephen Pekich to base his design on the photo version. He William T. Buice, III J. Fernando Peña did so for two basic reasons: to maintain consis- Terrence P. Chouinard Mary T. Peterson tency with the existing volumes of the Jeff erson John Y. Cole Petrarch Press Papers, and because Linotype Library (the suc- Philip N. Cronenwett Charles A. Rheault, Jr. cessor to Mergenthaler Linotype) is releasing a Erin Davis Herbert Robinson trade version of the new font. However, Carter Michael P. Denker Paul W. Romaine attempted to recapture the idiosyncratic charac- Matthew Doherty David S. Rose ter of the original Binny type that had been lost James R. Donnelley Michael Russem in the compromises forced on Monticello by the Elinor Eisemann Mark Samuels Lasner Linotype matrix requirements. Most notably he Donald Farren Richard H. Schimmelpfeng revived the unpredictable serifs of Binny’s design William Gast Mary C. Schlosser as well as its weight. He also added unique char- Milton McC. Gatch Nina Schneider acters necessary for recreating the correspondence Paul Gehl Alice Schreyer of Jeff erson’s day and, for the trade, new charac- Joseph Gilbert Paul Shaw ters such as the Euro symbol. E. M. Ginger Sherwin Beach Press ( e Grolier Club was fi lled for the dual pre- David Goodrich Jane Rodgers Siegel sentations of Creesy and Carter, and the audi- James Grieshaber Carolyn L. Smith ence was not disappointed. In addition, we also re- Carol P. Grossman Elaine B. Smyth ceived two keepsakes, a poster from the Princeton George W. Hamilton Deirdre C. Stam University Press showing the new Monticello type John B. Hench Stumptown Printers and a pamphlet of two letters between Jeff erson Martyn Hitchcock David Swinford and Ronaldson, printed by APHA member Earl Dennis L. Holsapple J. Curtiss Taylor Kallemeyn. Albert A. Howard Irene Tichenor Paul Shaw Bradley Hutchinson Suzanne Micheau Tinnian Matthew Carter’s work is being celebrated in an David Turrell Martin W. Hutner exhibit, “Typographically Speaking: e Art of Darrell Hyder Muriel Underwood Matthew Carter,” traveling next to the University of Jeff rey H. Kaimowitz David L. Vander Meulen Pennsylvania, Washington University in St Louis, Richard Kegler Tiff any Wardle and Carnegie Mellon University in Pittsburg. Jerry Kelly David Whitesell J. F. Killie Helena Wright APHA Newsletter · Summer · More Results from the We deliberately have events in many places, al- APHA Member Survey though we are legally bound to conduct our annual business meeting in New York City, where APHA is (see part one of this article in Newsletter ) incorporated as a non-profi t organization. We deliber- APHA has international members from the following ately have events in many places – Lieberman lectures countries: Austria (), Canada (; including individ- in Los Angeles, Washington, Philadelphia, Iowa City, uals), England (), France (), Germany (), Greece Boston, Berkeley, Galveston, Bloomington and Oak- (), Japan (), and the Netherlands (). We have one land; conferences in Rochester, St. Louis, Chicago, each from Australia, Colombia, Israel, Italy, New Zea- Austin, Charlottesville, Providence, Princeton, Wash- land, Nigeria (a new member), Norway, Poland, and ington, and other cities. Local chapters should have Scotland. events in your area (see further below). If you’d like ( e APHA board has read all the comments from to see a conference or lecture near you, contact Mark the survey, which I will also post on the website. ( ese Samuels Lasner, VP for Programs at <programs@ are some of the more interesting observations: printinghistory.org>. If you’d like to meet other APHA members in your * I am a letterpress printer. I have never made it to area, wait for our directory (see below) or get in touch an annual meeting, and the probability of attending is with me. slim. What fl oats my boat about APHA is the journal, Printing History. I wait eagerly to see the next number, Texts of conference talks and Lieberman lectures and I consume everything when it arrives. If the articles should be published for those unable to attend. are more on the printing side and less on the book side, Most conference talks and Lieberman lectures are that’s just icing on the cake. published in Printing History if the editor fi nds that they meet the journal’s standards of excellence. Since * I would like to see APHA avoid conferences, articles talks given by award winners at the annual meeting are and talks about today’s technology, as it has sometimes usually not printed, I post them on the APHA website done. e emphasis should always be on printing history. if the author permits.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • „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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]