Pen to Printer.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
NEWSLETTER 43 Antikvariat Morris · Badhusgatan 16 · 151 73 Södertälje · Sweden [email protected] |
NEWSLETTER 43 antikvariat morris · badhusgatan 16 · 151 73 södertälje · sweden [email protected] | http://www.antikvariatmorris.se/ [dwiggins & goudy] browning, robert: In a Balcony The Blue Sky Press, Chicago. 1902. 72 pages. 8vo. Cloth spine with paper label, title lettered gilt on front board, top edge trimmed others uncut. spine and boards worn. Some upper case letters on title page plus first initial hand coloured. Introduction by Laura Mc Adoo Triggs. Book designs by F. W. Goudy & W. A. Dwiggins. Printed in red & black by by A.G. Langworthy on Van Gelder paper in a limited edition. This is Nr. 166 of 400 copies. Initialazed by Langworthy. One of Dwiggins first book designs together with his teacher Goudy. “Will contributed endpapers and other decorations to In a Balcony , but the title page spread is pure Goudy.” Bruce Kennett p. 20 & 28–29. (Not in Agner, Ransom 19). SEK500 / €49 / £43 / $57 [dwiggins] wells, h. g.: The Time Machine. An invention Random House, New York. 1931. x, 86 pages. 8vo. Illustrated paper boards, black cloth spine stamped in gold. Corners with light wear, book plate inside front cover (Tage la Cour). Text printed in red and black. Set in Monotype Fournier and printed on Hamilton An - dorra paper. Stencil style colour illustrations. Typography, illustra - tions and binding by William Addison Dwiggins. (Agner 31.07, Bruce Kennett pp. 229–31). SEK500 / €49 / £43 / $57 [bodoni] guarini, giovan battista: Pastor Fido Impresso co’ Tipi Bodoniani, Crisopoli [Parma], 1793. (4, first 2 blank), (1)–345, (3 blank) pages. Tall 4to (31 x 22 cm). -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Berthold Wolpe Geboren Am 29
Berthold Wolpe Geboren am 29. Oktober 1905 in Offenbach am Main, gestorben am 5. Juli 1989 in London. Nach dem Abitur 1925 Lehre als Bronzegießer, in der Hauptsache aber als Ziseleur. 1925–1928 Technische Lehr- anstalten in Offenbach. Mitglied in der »Offenbacher Werkgemein- schaft« von Rudolf Koch. Von 1929–1933 Lehrtätigkeit an den Techni- schen Lehranstalten Offenbach und gleichzeitig Lehrer für Schrift an der Kunstschule Frankfurt (später Städelschule). 1935 Emigration nach London. Dort Graphiker, Buchgestalter und Lehrer für Schrift (zuletzt am Royal College of Art, London). 1983 Aufnahme in den Order of the British Empire. http://www.klingspor-museum.de Albertus 1938 Monotype Linotype Albertus Light 1940 Monotype Linotype ALBERTUS TITLING 1936 Monotype Bold Titling 1940 Monotype Decorata 1956 Fanfare Press 1952 Bauer. Gießerei LTB Italic 1973 London Transport unveröffentlicht 1937 Monotype 1936 Monotype G. Helzel Sachsenwald Gotisch halbfett 1938 Monotype Sachsenwald Gotisch fett Monotype Titling 1936 Fanfare Press Wolpe Fraktur 1933 D. Stempel AG unveröffentlicht Abbildung siehe Anhang http://www.klingspor-museum.de Berthold Wolpe Collection Bearbeitung der Schriften von Berthold Wolpe durch Toshi Omagari für Monotype Albertus Nova Thin 2017 Monotype Linotype Albertus Nova Light 2017 Monotype Linotype Albertus Nova 2017 Monotype Linotype Albertus Nova Bold 2017 Monotype Linotype Albertus Nova Black 2017 Monotype Linotype Sachsenwald Light 2017 Monotype Linotype Sachsenwald 2017 Monotype Linotype Wolpe Fanfare Thin 2017 Monotype -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
Stephenson, Blake, Sheffield
Stephenson Blake & Co 1819 begannen James Blake, William Henry Garnett und John Stephen- son eine Schriftgießerei in Sheffield, die auf dem gekauften Material von William Caslon IV aufbaute. Von 1830–1841 hieß die Firma Blake and Stephenson, danach Stephenson, Blake and Co. 1905 wurde die Gießerei Sir Charles Reed and Sons erworben und diese im Firmennamen bis 1914 auch genannt. 1937 wurde sie mit der Firma H. W. Caslon Ltd vereint. 1952 werden Teile von Miller & Richard übernommen. Das Material der Gießerei befindet sich nach der Einstellung der Schriftgießerei, jetzt im London Type Museum. Abbey Text 1919 aus USA von Adonis 1962 A. Cretton Adonis Bold A. Cretton Adonis Bold Italic A. Cretton Adonis Extended A. Cretton Adonis Extended Italic A. Cretton Albion von Monotype Alexandra 1911 Algerian 1902 Linotype Alhambra Black Amanda 1939 Wagner & Schmidt Ancient Black 1582 Arabian 1903 Riegerl, Weissenborn Art and Craft 1914 aus USA http://www.klingspor-museum.de Athenian 1889 William Kirkwood Augustan Black 1858 Auriol 1907 von Peignot, Paris Linotype Baskerville Old Face 1768 Isaac Moore Elsner + Flake Basuto S. Baxter Bell 1932 Benedictine 1925 von Linotype Black No. 3 1880 von Bauer, Frankfurt Bologna 1927 von ATF, USA Booklet 1946 Booklet Italic vor 1902 Eleisha Pechey Britannic 1901 Wagner & Schmidt Linotype Britannic Italic Wagner & Schmidt Britannic Bold 1905 Wagner & Schmidt Linotype Britannic Bold Italic 1905 Wagner & Schmidt Caslon Old Face Caslon Old Face Italic Caslon Old Face Heavy Caslon Old Face Heavy Compressed Champlevé 1911 von Peignot, Paris Chantrey 1904 Charlemagne 1896 E. Pechey Chatsworth 1914 ChatsworthCondensed ChatsworthExpanded Chippendale 1915 Chippendale Italic 1915 Chisel 1939 Robert Harling Linotype Chisel Expanded 1956 Robert Harling Classic ca. -
David Glen Smith
David Glen Smith Fonts of Influence My intentions are to merge a thick poster font with a thinner sans serif in order to produce a Charlesworth {Charlemagne} modern letter. I hope to shift a traditional-based SPHINX OF BLACK QUARTZ JUDGE MY VOW. character into a more fluid, rounded form. (THERE ARE NO LOWERCASE CHARACTERS) The curved letters would be influenced by leaf shapes: curves, barbs, angles all which appear Poster Bodini in nature with radical variation on a simple SPHINX OF BLACK QUARTZ JUDGE MY VOW form. Which will leave room for improvisation as the font progresses. the quick brown fox jumped over the lazy dog Likewise I want to incorporate an sense of hand Helvetica Neue drawn images to allow more creative energy and individualism. SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog In the end I would like to use the new version for headers on a developing web site promoting tradional art in diverse manner. Gill Sans SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog Font History • Gill Sans • Charlemagne Designer: Eric Gill of United Kingdom The Charlemagne font was designed by Carol Twombly and inspired Born: Brighton, 1882 Died: Uxbridge, 1940 by the 10th century Carolingian manuscripts. Charlemagne has a strong stress and extended serifs that give the capital letters of the Eric Gill studied under the renowned calligrapher, Edward John- font a distinctive charm which can be successfully exploited in adver- son, the designer of the London Underground sans serif typeface. -
When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century. -
The History of the Johnston Typeface
The history of the Johnston typeface A talk on Edward Johnston’s Underground Lettering – a century of influence on signs and identity by Mike Ashworth Admission Tuesday 3rd April 2012 at 6.30pm Free to SDS members, and to non- members who have booked for the Nearly a century has passed since the commissioning in Seminar 2012: Dateline London. The 1916 by the London Underground group of the Johnston world is coming. Non-members £15. typeface. With this famous ‘sans’ lettering still in use by Entry Transport for London and indeed with it being used as the Entry to all Sign Design Society talks basis for much of the signage for the 2012 Olympics and and events is by ticket only. Space Paralympics, this illustrated talk will take a look back at the is limited, so allocation is on a first introduction of Johnston to the capital’s transport network come, first served basis. If you have and the role it has played in the evolution of the corporate any special requirements please let identity of the Underground and other London transport us know, well in advance. modes. Membership Mike Ashworth is Design & Heritage Manager at London By joining the Society you will receive Underground and is responsible for customer-facing design free entry to our very regular talks, of stations and trains. Previously a curator at the London discounted admission to events and Transport Museum, Mike has worked for the company many other benefits. Join today and for twenty years. come to this talk for free. Tickets Venue Please apply for tickets as soon as The Gallery, 75 Cowcross Street, Farringdon, London, you can and no later than Friday 30th EC1M 6EL March 2012. -
„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. -
Styleguide 2018 Identity IDENTITY Solid Sign
AALTO UNIVERSITY STUDENT UNION Styleguide 2018 Identity IDENTITY Solid Sign Solid Modular Guidebook / Identity / Logo / AYY_Sign_Solid_RGB.ai Guidebook / Identity / Logo / AYY_Sign_Modular_RGB.ai IDENTITY Logotype Guidebook / Identity / Logo / AYY_Emblem_Black_RGB.ai IDENTITY Logotype Guidebook / Identity / Logo / AYY_Emblem_Black_RGB.ai IDENTITY Pattern 1. Single-element version Outlined Solid The set consists of three elements, constructed on the basis of the logotype geometry. These patterns may be used in the identical layouts with different content (i.e. business cards). Depending on the composition needs, it is recommended to use the solid version for the smaller scale pattern and the outlined version for the bigger scale. Guidebook / Identity / Pattern / AYY_Patterns.ai IDENTITY Pattern 2. Multi-element version Solid This pattern is the sum of the elements. The solid version uses three colors in the proposed relations, but may be recolored. These patterns may be used in the one-of-a-kind layouts (i.e. tent fabric). Outlined Guidebook / Identity / Pattern / AYY_Patterns.ai IDENTITY Illustration Modular / outlined llustration is built on the square grid, same with the logo and patterns. Modular Outlined IDENTITY Modular grid The modular grid is used to organize all the elements and their layout. The method is to divide the entire space of the layout by an even, metrical scale. In such a case, the vertical and horizontal units of the scale are identical, resulting in a small-square module. The frames are built on the basis of the module. All the distances in this grid are multiples of each other; in other words, they are in a simple relationship with each other. -
Alphabet B Ooks Book Beautiful Cambridge Dodgson
a l phabet b ooks the b ook beautiful ambridge c odgson d from the library of christopher hogwood BERNARD QUARITCH LTD 40 SOUTH AUDLEY STREET, LONDON W1K 2PR +44 (0)20 7297 4888 [email protected] www.quaritch.com For enquiries about this catalogue, please contact: Anke Timmermann ([email protected]) or Mark James ([email protected]) Bankers: Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code: 20-65-82 Swift code: BARCGB22 Sterling account IBAN: GB98 BARC 206582 10511722 Euro account IBAN: GB30 BARC 206582 45447011 US Dollar account IBAN: GB46 BARC 206582 63992444 Mastercard, Visa and American Express accepted. VAT number: GB 840 1358 54 Cheques should be made payable to: Bernard Quaritch Limited. List 2016/17 © Bernard Quaritch Ltd 2016 christopher hogwood cbe (1941- 0114 Throughout his 50-year career, conductor, musicologist and keyboard player Christopher Hogwood applied his synthesis of scholarship and performance with enormous artistic and popular success. Spearheading the movement that became known as ‘historically-informed performance’, he promoted it to the mainstream through his work on 17th- and 18th-century repertoire with the Academy of Ancient Music, and went on to apply its principles to music of all periods with the world’s leading symphony orchestras and opera houses. His editions of music were published by the major international houses, and in his writings, lectures and broadcasts he was admired equally for his intellectual rigour and his accessible presentation. Born in Notingham, Christopher was educated at Notingham High School, The Skinners' School, Royal Tunbridge Wells, and Pembroke College, University of Cambridge, where he read Classics and Music. -
Working with Koch Warren Chappell University of Virginia
The Kentucky Review Volume 2 | Number 2 Article 3 1981 Working with Koch Warren Chappell University of Virginia Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Art and Design Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Chappell, Warren (1981) "Working with Koch," The Kentucky Review: Vol. 2 : No. 2 , Article 3. Available at: https://uknowledge.uky.edu/kentucky-review/vol2/iss2/3 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. Working with Koch* Warren Chappell Fifty years ago, in the autumn of 1930, I began to make plans to learn to cut type punches. That fall my first book, Swift's A Tale of a Tub, was published by Columbia University Press. I did the typography, binding, and jacket, and engraved thirteen illustrations by my friend Charles Locke, instructor of lithography at the Art Students' League. The printing was the work of George Grady, who had been pressing me to learn punch cutting for at least three years. I had already earned a bachelor's degree from a university and had studied at the Art Students' League, where I was a member of the Board of Control. Also, I had been working as promotional art director for Liberty Magazine for two and a half years.