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BO-Does-CEM-Wooooooh-2-In-1-Wooooooh1.Pdf
02 RISD 03 2014 RISD 2014 GRADUATE GRADUATE TYPOGRAPHY TYPOGRAPHY When Gutenberg discovered a way to mechanically reproduce Title of Essay Title writing through metal type, he did not only shaped the future of Essay Title of information, but also invented the first typeface. Inspired Name of Student from calligraphy, Gutenberg’s first typeface is classified as the Blackletter (fig. 1). Blackletter became the official style Name of Student of Germany and continued to be officially used even after the humanist typefaces were invented. Apart from Germanic lands, Roman style lettering coexisted with blackletter. Like blackletter imitating calligraphy, Roman characters imitated human handwriting. The invention of letterpress is a crucial part of the history of human civilization. But some of the benefits are often forgotten and is worth mentioning. Through this invention, Europe was introduced to a very important conflict that tingled the mind of philosophers and artists up until late 20th century. The human versus the machine. In letterpress, the beauty of calligraphy, which is an organic mark making form was forced to be translated in to a standardized system. The concept of standardization and mechanization pushed the publishers, artists and typographers (in the case of early Renaissance these roles were played by a single person) to also think about standardization in punctuation and grammar. Historians actually discovered a significant increase in the usage of the exclamation mark and the parentheses. Humanist to Transitional 04 RISD I am very interested in investigating how politics and social One other important thing that must have inspired people for finer strokes in typography 05 2014 RISD movements forced printing and printers to travel in order to is the popularization of engraving over woodcut. -
Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress. -
Rasterhoff Dissertation.Pdf
Cover design: Thijmen Galekop Cover image: The bookshop and lottery agency of Jan de Groot on the Kalverstraat in Amsterdam – Isaac Ouwater, 1779 (Rijksmuseum Amsterdam) The fabric of creativity in the Dutch Republic Painting and publishing as cultural industries, 1580-1800 Patronen van creativiteit in de Republiek Schilderkunst en uitgeverij als culturele industrieën, 1580-1800 (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus prof. dr. G.J. van der Zwaan, ingevolge het college van promoties in het openbaar te verdedigen op woensdag 5 september 2012 des middags te 2.30 uur door Clara Rasterhoff geboren op 1 december 1982 te Amsterdam Promotoren: Prof. dr. M.R. Prak Prof. dr. R.C. Kloosterman Table of contents 1 Introduction ..................................................................................................................... 13 1.1 Cultural production in the Golden Age ................................................................... 15 1.2 Historiography ............................................................................................................ 16 1.3 Cultural industries ...................................................................................................... 18 1.4 Spatial clusters and geographic embeddedness ..................................................... 21 1.5 Towards a more dynamic model of spatial clustering .......................................... 24 1.6 Research questions -
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De Gulden Passer. Jaargang 30 bron De Gulden Passer. Jaargang 30. De Nederlandsche Boekhandel, Antwerpen 1952 Zie voor verantwoording: http://www.dbnl.org/tekst/_gul005195201_01/colofon.php © 2015 dbnl i.s.m. 1 [De Gulden Passer 1952] [Jan van Krimpen 1892-1952] IN het Nederland dat buiten zijn grenzen puilt van de mensen, waar wij het dorre brood des morgens met de zalf, bereid uit walvistraan en synthetische vitaminen, moeten besmeren om de straks drie millioen ouden van dagen die door de hoogte van het hygiënische peil niet sterven kunnen, van dezelfde ingewandsvulling te kunnen voorzien; in het Nederland waar industrieën worden opgebouwd om straks te kunnen exporteren naar landen, die industrieën opbouwen om te exporteren naar andere landen, die industrieën opbouwen; in het Nederland waar de grote dichters niet meer slotvoogden zijn, maar waar zij klerkenbaantjes krijgen opdat zij niet van honger sterven, waar de aristocratie zich alleen met sport bezighoudt en het maecenaat zich uit in het toekennen van kunstprijzen, waarvoor men, met enig overleg, een colbertjasje van onverschillige kwaliteit kan kopen; waar de slavernij is afgeschaft door de slaven te amuseren met tienderangs blikmuziek en laffe variété's, waar het grootste kunstbezit de kruising tussen een mestkever en een opgeblazen vulhaard is, die men een ‘Amerikaanse wagen’ noemt; waar die enige kunst die nog betaald wordt, de kunst van het kletsen over kunst is; waar de beeldende kunstenaars slechts de houtjes van hun penselen hebben om op te bijten; - in dit land, waar het leven ondanks alles toch misschien beter is dan in de meeste andere landen, beklijven op sommige gebieden nog een traditie en vakmanschap die binnen en buiten de grenzen een zekere invloed hebben en bewondering wekken. -
Featured Books
Featured Books 1. (Kelmscott Press) THE TALE OF THE EMPEROR COUSTANS AND OF OVER SEA. (Hammersmith, Middlesex, England: Kelmscott Press, 1894), 32mo., quarter cloth, paper covered boards, edges uncut. (iv), 130 pages. $ 2,250.00 Printed in an edition limited to 545 copies, this being one of 525 paper copies. (Cockerell 26, Peterson A26, Walsdorf 26). The first of these stories, The Tale of the Emperor Coustans, was the source of The Man Born to be King in The Earthly Paradise. The second story is A Tale of Over Sea. Printed in red and black in Chaucer type, wood-engraved titles, borders and initials designed by Morris. With three and six line initials, shoulder notes and some lines (including colophon) in red. Covers lightly soiled. Slightly scuffed at lower fore-edge corners. Previous owner’s bookplate on front pastedown. Foxing on endpapers. [127364] 1 2. (Bookbinding) THE WHOLE ART OF BOOK-BINDING, CONTAINING VALUABLE RECIPES FOR SPRINKLING, MARBLING, COLOURING, & C. Richmond, VA: Peter Cottom, 1824, 12mo., contemporary quarter calf over paper covered boards in later clamshell box. iv, 60 pages. $ 8,500.00 First American from the third English edition, with “considerable additions” (See S-K 7258. Pollard no.89). This American edition is even more scarce than the English edition with only 11 copies cited in OCLC. This copy’s foldout table in the back which lists prices for New York bookbinders is torn with most lacking, but facsimile reprint, with letter from previous bookseller, inserted. The 1811 English printing was the first English book devoted entirely to bookbinding. -
Painting and Publishing As Cultural Industries the Fabric of Creativity in the Dutch Republic, 1580-1800
CLAARTJE RASTERHOFF Painting and Publishing as Cultural Industries The Fabric of Creativity in the Dutch Republic, 1580-1800 amsterdam studies in the dutch golden age Painting and Publishing as Cultural Industries Amsterdam Studies in the Dutch Golden Age Founded in 2000 as part of the Faculty of Humanities of the University of Amsterdam (UvA), the Amsterdam Centre for the Study of the Golden Age (Amsterdams Centrum voor de Studie van de Gouden Eeuw) aims to promote the history and culture of the Dutch Republic during the ‘long’ seventeenth century (c. 1560-1720). The Centre’s publications provide insight into the lively diversity and continuing relevance of the Dutch Golden Age. They offer original studies on a wide variety of topics, ranging from Rembrandt to Vondel, from Beeldenstorm (iconoclastic fury) to Ware Vrijheid (True Freedom) and from Batavia to New Amsterdam. Politics, religion, culture, economics, expansion and warfare all come together in the Centre’s interdisciplinary setting. Editorial control is in the hands of international scholars specialised in seventeenth-century history, art and literature. For more information see http:// en.aup.nl/series/amsterdam-studies-in-the-dutch-golden-age or http://acsga. uva.nl/ Editorial Board Frans Blom, University of Amsterdam Michiel van Groesen, Leiden University Lia van Gemert, University of Amsterdam Geert H. Janssen, University of Amsterdam Elmer E.P. Kolfin, University of Amsterdam Nelleke Moser, VU University Amsterdam Henk van Nierop, University of Amsterdam Emile Schrijver, University of Amsterdam Thijs Weststeijn, Utrecht University Advisory Board H. Perry Chapman, University of Delaware Harold J. Cook, Brown University Benjamin J. -
Capítulo 1. Historia De La Tipografía
Historia de la tipografía En este capítulo conoceremos el desarrollo de la tipogra- fía, desde Gutenberg, con la invención de los tipos móvi- les de metal, hasta la actualidad. Encontraremos informa- ción de tipógrafos, tipografías, innovaciones técnicas, fundiciones tipográficas y otros acontecimientos relevan- tes que ocurrieron durante estos 5 siglos y que además 1nos adentrarán en el universo de la tipografía. 1.1 Incunables: 1440-1500 Con la disponibilidad del papel, la impresión con bloques de madera tallada y la creciente demanda de libros, naciones como Italia, Alemania, Francia y los Países Bajos, buscaban la produc- ción de textos por medio de la mecanización utilizando tipos móviles. Alrededor de 1440, Johann Gensfleisch zum Gutenberg, desarrolló en Alemania una técnica para elaborar moldes de tipos que se utilizarían para la impresión de letras individuales (los chi- nos fueron los primeros en utilizar tipos móviles, hechos de made- ra, durante la primera mitad del siglo xi); escogió el tipo textura como modelo, imitando el trabajo de los escribas de la época, para que el nuevo estilo fuera aceptado. La obra más representa- tiva de Gutenberg es su Biblia de 42 líneas que desarrolló con esta técnica, la cual estuvo vigente por 500 años. Los tipos móviles 1 Retrato del s. xvi de la posible apariencia de Gutenberg (A. Thevet, Pourtraits et vies, 1584). Página de la Biblia de 42 líneas de Gutenberg. Las ilustraciones, así como algunos detalles en la composición del texto, fueron añadidas a mano después de haberse impreso. Este ejemplar se encuentra en la Biblioteca Británica en 2 Londres. -
Maestros Tipógrafos Y Desde Estas Obser- Vaciones Habían Llegado a Conclusiones Similares
HISTORIA DE LA TIPOGRAFÍA III Grandes tipógrafos Recopilación de José Ramón Penela editada por Angel E. Iglesias Delgado Detalle de una página del «Hypnerotomachia Poliphili» uno de los más bellos libros impresos por el impresor veneciano Aldus Manutius en el año 1499 HISTORIA DE LA TIPOGRAFÍA III Grandes tipógrafos Recopilación de José Ramón Penela editada por Angel E. Iglesias Delgado NEW MONESUCH PRESS MADRID-SORIA Este libro ha sido compuesto con: URW Garamond, normal, de 10, 11, 12, 13, 14 y 15 puntos ; negrita, de 10 puntos y cursiva de 8 y 10 puntos. Helvética, normal, de 10, 14, 18 y 25 puntos. Prefacio Como todo arte, la tipografia también tiene sus maestros. Tipografos que durante su carrera sir- vieron como guia y ejemplo para muchos otros y que dejaron para la posteridad creaciones que aun hoy gozan de una reputa- da solidez y fiabilidad y que en todo caso conforman unos hitos que los interesados en la tipografía debemos conocer. Indudablemente, nunca mejor dicha la frase hecha «no están todos los que son, ni son todos los que están» porque, afortunadamente, jla nó- mina de creadores de tipos es extensa y variada, pero como punto de partida y para darnos una visión global de la historia de la tipografía a través de sus protagonistas, los que aparecen en esta sección de Unos tipos duros son en verdad una apuesta segura. Índice Prefacio ........................................................................................... 5 Nicholaus Jenson ......................................................................... 9 Erhard -
Typeface Legibility: Towards Defining Familiarity
Typeface Legibility: Towards defining familiarity Sofie Beier A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy May 2009 The Royal College of Art [ 2 ] typeface legibility: towards defining familiarity © This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. sofie beier 2009, royal college of art [ 3 ] Abstract The aim of the project is to investigate the influence of fa- miliarity on reading. Three new fonts were created in order to examine the familiarity of fonts that readers could not have seen before. Each of the new fonts contains lowercase letters with fa- miliar and unfamiliar skeleton variations. The different skeleton variations were tested with distance threshold and time thresh- old methods in order to account for differences in visibility. This investigation helped create final typeface designs where the fa- miliar and unfamiliar skeleton variations have roughly similar and good performance. The typefaces were later applied as the test material in the familiarity investigation. Some typographers have proposed that familiarity means the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is the commonalities in letterforms. These two hypotheses were tested by measuring the reading speed and preference of partici- pants, as they read fonts that had either common or uncommon letterforms, the fonts were then re-measured after an exposure period. -
De Gulden Passer. Jaargang 38
De Gulden Passer. Jaargang 38 bron De Gulden Passer. Jaargang 38. De Nederlandsche Boekhandel, Antwerpen 1960 Zie voor verantwoording: http://www.dbnl.org/tekst/_gul005196001_01/colofon.php © 2015 dbnl i.s.m. 1 [De Gulden Passer 1960] Typographica plantiniana II. Early inventories of punches, matrices, and moulds, in the Plantin-Moretus archives The wealth of the typographical collections of the Plantin-Moretus Museum is well known. In particular Harry Carter has recently written at some length on Plantin's collection of punches and matrices.1. It was perhaps the largest and finest collection to be assembled in the sixteenth century, and is the only major collection from that era to survive intact. It consists of some 4,500 punches, 16,000 matrices, 4,500 strikes and 60 moulds, most of which date from the sixteenth century. There is no single source to which one can turn in the attempt to attribute and date all the typefaces represented by this material. Plantin's c. 1580 Folio Specimen gives showings of most of his types with the names by which he knew them, but makes no attributions and does not state whether he owned punches, matrices or only type for each. His business records with punchcutters and type-founders supply useful information on certain faces but are far from complete. A study of his books reveals how and when he used his types but gives no idea of who cut them. However, the series of inventories made of their typographical property by Plantin, his associates, and his successors provides attributions for most of the faces and establishes a framework on which all the other information can be collected and understood. -
Spring Catalogue 2017
Spring Catalogue 2017 antiquariaat FORUM & ASHER Rare Books Spring Catalogue 2017 ’t Goy-Houten 2017 Spring Catalogue 2017 Extensive descriptions and images available on request. All offers are without engagement and subject to prior sale. All items in this list are complete and in good condition unless stated otherwise. Any item not agreeing with the description may be returned within one week after receipt. Prices are in eur (€). Postage and insurance are not included. VAT is charged at the standard rate to all EU customers. EU customers: please quote your VAT number when placing orders. Preferred mode of payment: in advance, wire transfer or bankcheck. Arrange- ments can be made for MasterCard and VisaCard. Ownership of goods does not pass to the purchaser until the price has been paid in full. General conditions of sale are those laid down in the ILAB Code of Usages and Customs, which can be viewed at: <http://www.ilab.org/eng/ilab/code.html> New customers are requested to provide references when ordering. Tuurdijk 16 Tuurdijk 16 3997 ms ‘t Goy – Houten 3997 ms ‘t Goy – Houten The Netherlands The Netherlands Phone: +31 (0)30 6011955 Phone: +31 (0)30 6011955 Fax: +31 (0)30 6011813 Fax: +31 (0)30 6011813 E-mail: [email protected] E-mail: [email protected] Web: www.forumrarebooks.com Web: www.asherbooks.com front cover: no. 40 on p. 25. inside front cover: no. 16 on p. 12. p. 2: no. 186 on p. 103. v 1.2 · 13 Dec 2017 p. 3: no. 48 on p. 29. -
Een Onderzoek Naar Het Waarom Van Letter Revivals [Ri- Vahy- Vuhl] Een Onderzoek Naar Het Waarom Van Letter Revivals
[ri- vahy- vuhl] een onderzoek naar het waarom van letter revivals [ri- vahy- vuhl] een onderzoek naar het waarom van letter revivals Scriptie GOD AKV St. Joost, Breda — Januari Docent: Mark Schalken Merijn Dietvorst Halsterseweg AP Bergen op Zoom [email protected] “Wanneer een letter niet meer wordt toegepast omdat de reproductie techniek van de letter is verouderd, dan is er aan leiding voor het maken van een revival. Het oor- spronkelijke ontwerp, gemaakt voor een oude techniek, moet worden aangepast aan de nieuwe hedendaagse techniek.” Nieuwe Letters (2003)—Fred Smeijers Inhoud Voorwoord 5 Inleiding 7 1. Geschiedenis 8 . de oorsprong van de ‘romeinen’ 9 1. typografisch verval 0 . een tegengeluid 0 2. De machines 4 2. de eerste revival golf 5 2. revivals van Van Krimpen voor Monotype 7 2. introductie van fotozetsel 8 3. De computer 22 3. digtaal 23 4. Het heden 6 4. techniek en interpretatie 8 4. revival van Bach 9 4. Haarlemmer 0 4.4 ideëel of commercieel 31 5. Garamond 5 6. Toekomst 44 7. Conclusies 49 Nawoord 5 Literatuurlijst 55 4 Voorwoord erken met letters is eigenlijk het leukste wat er is. Na het eerste jaar van mijn studie begon het al te kriebelen, tijdens de lessen van Evert Bloemsma werd mijn liefde voor typografie langzaam aangewakkerd. Vooral zijn gedrevenheid Wen enthousiasme voor het vak prikkelde mij. Ik ben me in de loop van de opleiding steeds meer gaan verdiepen in de typografie. Daarnaast hebben Steffen Maas en Jaap van Triest er voor gezorgd dat mijn liefde voor typografie verder werd gevoed.