Kate Iorio GID 161-02 Typography 1

Total Page:16

File Type:pdf, Size:1020Kb

Kate Iorio GID 161-02 Typography 1 ww Type History Process Book Kate Iorio GID 161-02 Typography 1 Research 2 Research 3 Research 4 Research 5 Research 6 Research 7 Research 8 Research 9 Research 10 Research 11 Research 12 Sketches 13 Sketch/Critiques 14 Color Study 15 Pantone Red 032 U Pantone 286 U Pantone Cool Pantone 331 U Pantone 5165 U Pantone 1205 U Gray 1 Pantone Warm Pantone 1775 U Pantone 176 U Pantone 7409 U Pantone 290 U Pantone 5395 U Red U Pantone 136 U Pantone 134 U Pantone 7696 U Pantone 562 U Pantone 564 U Pantone 566 U Pantone 2627 U Pantone 5165 U Pantone 566 U Pantone 286 U Pantone 134 U Pantone 1775 U Pantone 176 U Pantone 7527 U Pantone 290 U Pantone 563 U Pantone Red 032 Pantone Cool U Gray 1 Type Study 16 Type Study 17 Bodoni 1798 Bodoni 1798 Bodoni 72 Book Bodoni 72 Oldstlye Book Italic Bodoni created a variety of fonts, most resembling his original style. Bodoni created a variety of fonts, most resembling his original style. Some of his typefaces are Bodoni Poster, Bodoni Antiqua, Bodoni Some of his typefaces are Bodoni Poster, Bodoni Antiqua, Bodoni Classic, Bauer Bodoni, and Bodoni Classic Hand. Classic, Bauer Bodoni, and Bodoni Classic Hand. Bodoni 1798 Bodoni 1798 Bodoni 72 Italic Bodoni 72 Oldstyle Bold Bodoni created a variety of fonts, most resembling his original style. Bodoni created a variety of fonts, most resembling his original style. Some of his typefaces are Bodoni Poster, Bodoni Antiqua, Bodoni Some of his typefaces are Bodoni Poster, Bodoni Antiqua, Bodoni Classic, Bauer Bodoni, and Bodoni Classic Hand. Classic, Bauer Bodoni, and Bodoni Classic Hand. Bodoni 1798 Bodoni 72 Bold Bodoni created a variety of fonts, most resembling his original style. Some of his typefaces are Bodoni Poster, Bodoni Antiqua, Bodoni Classic, Bauer Bodoni, and Bodoni Classic Hand. Bodoni 1798 Bodoni 72 Oldstyle Book Bodoni created a variety of fonts, most resembling his original style. Some of his typefaces are Bodoni Poster, Bodoni Antiqua, Bodoni Classic, Bauer Bodoni, and Bodoni Classic Hand. Comps 18 Comps 19 Bodoni 1798 Russian and Greek types. Bodoni printed The modern font, Bodoni was designed in 1798 several famous works such as the writings by Giambattista Bodoni. Inspiration for the of Horace in 1791 and Virgil in 1793 and Aa Bb Cc Dd font was highly drawn from the work of John Homer’s Illiad in 1808. The Illiad print Baskerville, the creator of Baskerville. Bodoni was a gift to Napoleon, which was received is characterized by contrasting thick and thin gratefully as Napoleon later gave him a Ee Ff Gg Hh strokes and thin serifs. Initially, the font’s pension for life. Bodoni created a variety of creator, Giambattista Bodoni designed old- fonts, most resembling his original style. style typefaces with elaborate detail , but later Some of his typefaces are Bodoni Poster, Ii Jj Kk Ll Mm he took on the influence of a French printer, Bodoni Antiqua, Bodoni Classic, Bauer Pierre Didot and later designed typefaces with Bodoni, and Bodoni Classic Hand. Towards Nn Oo Pp Qq little detail and a modern style. Giambattista the end of Bodoni’s life, he became very Bodoni, whose father was a printer, was born on famous due to his admiral typographical February 6th, 1740 in Salluzzo, Italy. Bodoni work. After receiving compliments from Rr Ss Tt Uu Vv left his home in his youth and went to Rome Pope Pius Vll, he presented him with an where he served as an apprentice at the press of “Oratio Dominica,” which contained the the Propagation of the Faith, the missionary arm Lord’s Prayer in 155 languages. Bodoni Ww Xx Yy Zz of the Vatican. In 1768 at the age of 28, Bodoni died on November 29, 1813, Parma, Italy, had developed a strong reputation for his work which earned him the offer to assume the but his typefaces continued to live on past 12345 management of the Royal Press which was the press of the Duke of Parma. In this position, his death. The Bodoni typeface has been he produced a variety of books and printed materials in languages such as Latin, Greek, used frequently since its creation. In the and Italian. The Duke gave Bodoni a large press and ample independence which allowed 18th century it was used in Italian books and 67890 him to venture into projects other than for the Royal Press. Bodoni produced many books in the 21st century, it is often seen in advertising. Most recently, the font was seen used in in his time. The most notable was his Manuale Tipografico in 1788, meaning “Intenvory of the Mamma Mia movie poster and in the Nirvana band logo. Types. This was a folio of 291 roman and italic typefaces with other samples of Comps 20 Comps 21 Bodoni The modern font, Bodoni was designed in 1798 by Giambattista Bodoni. Inspiration for the was received gratefully as Napoleon later gave font was highly drawn from the work of John Baskerville, the creator of Baskerville. Bodoni is him a pension for life. Bodoni created a variety Aa Bb Cc Dd characterized by contrasting thick and thin strokes and thin serifs. Initially, the font’s creator, of fonts, most resembling his original style. Giambattista Bodoni designed old-style typefaces with elaborate detail , but later he took on the Some of his typefaces are Bodoni Poster, Bodo- influence of a French printer, Pierre Didot and later designed typefaces with little detail and ni Antiqua, Bodoni Classic, Bauer Bodoni, a modern style. Giambattista Bodoni, whose father and Bodoni Classic Hand. Towards the end of Ee Ff Gg Hh was a printer, was born on February 6th, 1740 in Bodoni’s life, he became very famous due to Salluzzo, Italy. Bodoni left his home in his youth and his admiral typographical work. After receiving went to Rome where he served as an apprentice at the compliments from Pope Pius Vll, he presented Ii Jj Kk Ll Mm press of the Propagation of the Faith, the missionary him with an “Oratio Dominica,” which con- arm of the Vatican. In 1768 at the age of 28, Bodoni tained the Lord’s Prayer in 155 languages. had developed a strong reputation for his work which Bodoni died on November 29, 1813, Parma, Nn Oo Pp Qq earned him the offer to assume the management Italy, but his typefaces continued to live on past of the Royal Press which was the press of the Duke his death. The Bodoni typeface has been used of Parma. In this position, he produced a variety of frequently since its creation. In the 18th cen- books and printed materials in languages such as tury it was used in Italian books and in the 21st Rr Ss Tt Uu Vv Latin, Greek, and Italian. The Duke gave Bodoni a century, it is often seen in advertising. Most large press and ample independence which allowed recently, the font was seen used in the Mamma him to venture into projects other than for the Royal Mia movie poster and in the Nirvana band logo. Ww Xx Yy Zz Press. Bodoni produced many books in his time. The most notable was his Manuale Tipografico in 1788, meaning “Intenvory of Types.” This was a folio of 291 12345 roman and italic typefaces with other samples of Russian and Greek types. Bodoni printed several famous works such as the writings of Horace in 1791 and Virgil in 1793 and Homer’s Illiad in 1808. The Illiad print was a gift to Napoleon, which 67890 Comps 22 Comps 23 Bodoni The modern font, Bodoni was designed in 1798 by Giambattista Bodoni. Inspiration for died on November 29, 1813, Parma, Italy, but his typefaces continued to live on past his the font was highly drawn from the work of John Baskerville, the creator of Baskerville. death. The Bodoni typeface has been used frequently since its creation. In the 18th century Bodoni is characterized by contrasting thick and thin strokes and thin serifs. Initially, the it was used in Italian books and in the 21st century, it is often seen in advertising. Most font’s creator, Giambattista Bodoni designed old-style typefaces with elaborate detail , recently, the font was seen used in the Mamma Mia movie poster and in the Nirvana band but later he took on the influence of a French printer, Pierre Didot and later designed logo. typefaces with little detail and a modern style. Giambattista Bodoni, whose father was a printer, was born on February 6th, 1740 in Salluzzo, Italy. Bodoni left his home in his youth and went to Rome where he served as an apprentice at the press of the Propagation Aa Bb Cc Dd of the Faith, the missionary arm of the Vatican. In 1768 at the age of 28, Bodoni had developed a strong reputation for his work which earned him the offer to assume the management of the Royal Press which was the press of the Duke of Parma. In this position, Ee Ff Gg Hh he produced a variety of books and printed materials in languages such as Latin, Greek, and Italian. The Duke gave Bodoni a large press and ample independence which allowed Ii Jj Kk Ll Mm him to venture into projects other than for the Royal Press. Bodoni produced many books in his time. The most notable was his Manuale Tipografico in 1788, meaning “Intenvory Nn Oo Pp Qq of Types.” This was a folio of 291 roman and italic typefaces with other samples of Russian and Greek types. Bodoni printed several famous works such as the writings of Horace in 1791 and Virgil in 1793 and Homer’s Illiad in 1808.
Recommended publications
  • GIAMBATTISTA BODONI of PARMA 1Ms Biographical Sketch of the Life of The
    GIAMBAT 'ISTA BODONI EX.UBKlSUNIVERSITf OF CALIFORNIA^ JOHN HENRY NASH LIBRARY SAN FRANCISCO ' PRESENTED TO THE UNIVERSITY OF CALIFORNIA ROBERT GORDON SPROUL, PRESIDENT MR.AND Mas.MILTON S . RAY CECILY, VIRGINIAANDROSALYN RAY AND THE RAY OIL BURNERCOMPANY GIAMBATTISTA BODONI OF PARMA 1ms biographical sketch of the life of the Italian printer, Giambattista Bodoni, was delivered by Thomas Maitland Cleland of New York, at a meeting of The Society of Printers in Boston, April 22, Two hundred and fifty copies have been printed by The University Press, Cam- bridge, Massachusetts, for The Society of Printers, of which this is MONUMENT TO BODOM, ERECTED AT SALLZZO, OCT. 20, 1872 GIAMBATTISTA BODONI OF PARMA T. M. CLELAND BOSTON THE SOCIETY OF PRINTERS MCMXVI Copyright, 1916, BY T. M. CLELAND GIAMBATTISTA BODONI OF PARMA Mr. President and Members of The Society of Printers : In selecting, as the subject of your meeting tonight, Bodoni, the printer of Parma, on this centennial anniversary of his death, you have done a "very wise and just thing. For though he may have been over-praised and in his honoured own day, he has certainly received rather more than a fair share of neglect in ours. While I am very sensible of the honour, I am not so sure of the wis- dom of your having asked me to talk to you on this subject, and as you have made this bed, you may be compelled to fall asleep in it before the evening is over; but we have, fortunately, what appears to be a very repre- sentative collection of specimens of Bodoni's work here tonight for inspection and study.
    [Show full text]
  • PHILLIP J. PIRAGES Catalogue 66 BINDINGS Catalogue 66 Catalogue
    Phillip J. Pirages PHILLIP J. PIRAGES Catalogue 66 BINDINGS Catalogue 66 Items Pictured on the Front Cover 172 176 58 114 92 3 52 167 125 115 192 28 71 161 1 196 204 116 Items Pictured on the Back Cover 152 109 193 9 199 48 83 18 117 25 149 59 83 77 90 60 175 12 149 50 41 91 55 171 143 66 50 126 65 80 98 115 To identify items on the front and back covers, lift this flap up and to the right, then close the cover. Catalogue 66: Interesting Books in Historically Significant and Decorative Bindings, from the 15th Century to the Present Please send orders and inquiries to the above physical or electronic addresses, and do not hesitate to telephone at any time. We would be happy to have you visit us, but please make an appointment so that we are sure to be here. In addition, our website is always open. Prices are in American dollars. Shipping costs are extra. We try to build trust by offering fine quality items and by striving for precision of description because we want you to feel that you can buy from us with confidence. As part of this effort, we unconditionally guarantee your satisfaction. If you buy an item from us and are not satisfied with it, you may return it within 30 days of receipt for a full refund, so long as the item has not been damaged. Most of the text of this catalogue was written by Cokie Anderson, with additional help from Stephen J.
    [Show full text]
  • Great Bindings Spanish Royal Collections
    Great Bindings from the Spanish Royal Collections 15th-21st centuries Great Bindings from the Spanish Royal Collections 15th - 21st centuries I> IKLC I ll> CY Maria Luisa L6peL-Vidriero PATRIMONIO NACIONAL ED I CIO NES EL V ISO A< ~nowiPdgPmcnts Patrimonio 'lacional and the exhibition curator, w"h to tlhln~ tlw lollowong uhlltutions and people, as well as thoM' who preler to n•ut,llll .ammymnll'' R<'hgious commumtit~ ol the conveuts of L.•~ ~•• l~<h Re.llt·,, 1.1 rnc.u nacion, ~anta lsabel and Las Huelgas and the nlo•M,Iery ut '>.m l~•u•nm d(• El E~orial J<>>l' Anlonio Ahijado; Monica 1\koha; Juan Jo;,p Alon,o; Mt'rn'{lt•, Alon ,o; Angl'l de An,,; Fr;u1c ism cl .. J\ndre~; Juan Ramc\n Apa1irio; Amc•li.1 /\1 diHI,l; Visgini11 J\1 nail: Luis Ba~na; Pilar Bdglit'Uo; lnt51.1 Btlll igtl; M~l 'Id lldrrigoll; RO><t n.. , ~ · I il; Pilal Benilo: RO,dl in Bla,ro; lgn.l< io c .• lie•; l',Jinlll<t Callejo; lnmac .. lada Candil: c, islina Ca1o; 1'111 ifk.~ri<in ( ,., ,•ijo; Jo"' Co,ial,; Sag• al'io Cri ado; Belf'n Curie!; Ca1nwn Dfa1.; ~ li ~.1 E> lc·!J,,n; I<'"" l'vlig11r·l r,,, n;\ndl'7; j11l ian F~rnandt>1.; Marta fPI m\ndc•1; M" CM111!'n l't•r lldHdP'/ l .dM oil i: josP J\nLonio frdn< o: And Garc1o~ fatl'itiiW Cttrc w; l'vl'' ~nll'dMI Gn rt1a; Carmen Garcfa-Fria>; lsabd Cil Robles; Jo't' Anlonin (,i"rwr .1; Elni sa Conzalez; Daniel Cuindulain; Ampuro Gutien·c•t; l·uf.:<' nin ll1•111ando; Concha Hcrrero; Mana Jestl' Herrero; :;,,uti,,go lit'IIC'IO; flo~vr<l lhor 1a; Oriol Janc•; Julian Jimcnez: Javier Jord,m de Urrre': llnlort•, LC>Jll'?; Ana Loureiro; Lourdes de Luis; Lucio M,•irt'; h•m,111dn M,11 1111; Ro-.uin M.1r1m· Tcresa Martm; Adcla .\larunez; Ouniele \l,u ur.•.
    [Show full text]
  • Il Disegno Di Bodoni Graphic Grafica Giambattista Bodoni
    AND 31_2.indd 80 12-06-2017 20:05:20 testo di/text by Giancarla Bertero The graphic art of Bodoni Bodoni Il disegno di Bodoni Graphic Grafica Giambattista AND 31_2.indd 81 12-06-2017 20:05:20 Anche il disegno dei caratteri di stampa, come tutte le arti applicate, può essere apprezzato in quanto Even the drawing of print characters, like all applied creazione dal valore intrinseco, prescindendo dalla funzionalità. Una delle conseguenze dell'era digi- arts, can be appreciated as a creation of intrinsic va- tale è l'incremento esponenziale degli utilizzatori di caratteri che oggi non sono più ad uso esclusivo lue, regardless of its functionality. One of the conse- di grafici e tipografi; ognuno di noi sul proprio personal computer può scegliere, come minimo, tra quences of the digital age is the exponential increase qualche decina di “tipi”, comporre testi e stamparli in proprio. Nel disegno e nella realizzazione dei of the users of characters that are no longer for the caratteri l'opera di Giambattista Bodoni, pur costituendo una pietra miliare, si inserisce in un articolato exclusive use of graphic designers and typographers. percorso tracciato nei secoli precedenti1. Negli anni Ottanta del Settecento si concluse l'era dei tipi Each of us on our personal computer can choose “umanisti”, simili al carattere “romano”, di antica ispirazione, usato dall’editore Aldo Manuzio, nel from, at least, a few dozen "types", compose texts and 1496, per il De Aetna di Pietro Bembo, grazie al francese Firmin Didot e al Bodoni, che inventarono print them on our own.
    [Show full text]
  • Including Binding, Paper and Papermaking, Printing, & Typog
    Recent Studies on Books Printed 1660–1820 as Physical Objects: Including Binding, Paper and Papermaking, Printing, & Typography, 1985–2016 This bibliography surveys scholarship published from 1985 to 2016 concerning the physical features of printed materials produced c. 1660–1820. It is most inclusive for the years 1990–2014, in consequence of my compiling studies from those years for Section 1—"Printing and Bibliographical Studies"—of ECCB: Eighteenth-Century Current Bibliography. A 2015 revision corrected and added entries to the previous version of this bibibliography (2010), expanding the typescript from 74 to 112 pages. Then in early 2017, I expanded the list, particularly with studies of paper, to 154 pages. Included are studies of the physical features of particular books, editions and issues, such as bindings, paper, and type (as well as studies of the general period’s bindings, paper, type, typographical design, presses and presswork). Also included are studies of bookbinding, papermaking and typefounding as arts and studies of materials of production, as printing presses. I include some dissertations and many book reviews. In general, fields covered here are directly related to analytical and descriptive bibliography. For the English- speaking world, Philip Gaskell's A New Introduction to Bibliography (1972) remains the first step in such fields of study. Note that, although studies of bookbinding, papermaking and typography as industries or trades are included, studies of individuals in the bookbinding and type-founding trades have usually been placed in a bibliography on "Studies of Printers & Publishers and Publishing during the Long Eighteenth Century," which I posted in February 2017 at BIBSITE.
    [Show full text]
  • Sans Serif Typefaces By: Years, All of Which Were Designed by Ben- Ton and Issued by A.T.F
    Category Serif Classification Transitional Designer(s) Henry Baskerville Foundry Baskerville NB Here using Baskerville URW from Adobe Typekit BASKERVILLE Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot. References Wikipedia : Baskerville Font: The Sourcebook Black dog Publishing Pau and Berger eds: 30 Essential Typefaces for a Lifetime History CHARACTERISTICS In Birmingham, England, Henry Baskerville ad- vanced the use of more delicate typefaces that could The Baskerville typeface is the result of withstand the repeated poundings on the press. He John Baskerville’s intent to improve upon also developed smoother paper so the typefaces could the types of William Caslon. He was aim- print without breaks or clogs. Had an airy quality ing at simplicity and quiet refinement due to the lightness of the letterforms and generosity though: of the page margins. Melted down his type after each printing. • increasing the contrast between thick and thin strokes Baskerville’s typeface was the culmination of a larg- • making the serifs sharper and more er series of experiments to improve legibility which tapered also included paper making and ink manufactur- • shifting the axis of rounded letters to a ing. His background as a writing master is evident more vertical position. in the distinctive swash tail on the uppercase Q and • making curved strokes more circular in in the cursive serifs in the Baskerville Italic. shape and making characters more regu- lar.
    [Show full text]
  • Giambattista Bodoni—Biografia
    ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß GIAMBATTISTA BODONI ß ß BIOG R AF I A ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ßßßßßß ßßßßßß 1740 Giambattista Bodoni was born in Saluzzo, Italy, on Febru- ary 26th, into a family originally from the town of Asti and which was dedicated to the art of typography. In 1669, this family brought back into the marquisate the art of set- ting types after more that half a century of absence. The young Giambattista does his first studies at the Regio Col- legio Saluzzese, while in his father’s workshop he draws and does woodcuts. 1758 Together with his school mate Domenico Costa, Bodoni moves to Rome on February 25th, where he does his vo- cational training at the “Sacra Congregazione di Propa- ganda Fide,” one of the most important European print- ing studios of the time. At the “Collegio della Sapienza” Bodoni learns the basics of some oriental languages. Abbot Costantino Ruggeri, administrator of the printing studio, and Cardinal Giuseppe Spinelli, prefect of the typographic atelier, notice his talent and give him the task of rearrang- ing the oriental typeface punches cut by the Frenchmen Garamond and Le Bé about two hundreds years before. The period in Rome proves to be critical to Bodoni’s even- tual orientation as a punch cutter as well as his interest in oriental scripts. 1759 Produces a series of woodcuts for the volume Alphabetum Tibetanum Missionum Apostolicarum Commodo Editum (now extremely rare) of Father Agostino Giorgi, professor of oriental languages at “La Sapienza” university.
    [Show full text]
  • Nine Steps THROUGH HISTORY Emilia-Romagna Tells Its Story Images and Words from Emilia-Romagna, 1
    nine Steps THROUGH HISTORY Emilia-Romagna tells its story Images and words from Emilia-Romagna, 1 Regione Emilia-Romagna Progetto e coordinamento del gruppo Servizio Comunicazione, Educazione Valeria Cicala alla Sostenibilità Vittorio Ferorelli Responsabile Paolo Tamburini Istituto per i Beni Artistici Culturali e Naturali Agenzia Informazione e ufficio Stampa Gina Pietrantonio della Giunta Servizio Comunicazione; Educazione Direttore Roberto Franchini alla Sostenibilità www.regione.emilia-romagna.it Gruppo di lavoro Istituto per i Beni Artistici Paolo Degli Esposti Culturali e Naturali Silvia Mazzoli Presidente Ezio Raimondi Simonetta Trevisi Direttore Alessandro Zucchini Servizio Comunicazione; Educazione alla Sostenibilità www.ibc.regione.emilia-romagna.it Sante Zavattini Servizio Affari Generali, Giuridici Consulta degli Emiliano-Romagnoli e Programmazione Finanziaria nel mondo Claudio Bacilieri Presidente Silvia Bartolini Katia Guizzardi www.emilianoromagnolinelmondo.it Rita Tagliati Servizio Politiche europee e relazioni internazionali Coordinamento editoriale Andrea Facchini Tiziana Gardini Servizio Politiche per l’accoglienza Piera Raimondi e l’integrazione sociale Agenzia Informazione e ufficio Stampa della Giunta Elena Rossi Servizio Programmazione, valutazione e interventi regionali Illustrazioni Stefania Sani Sergio Tisselli Servizio Turismo e Qualità Aree Turistiche Cinzia Leoni Impaginazione Barbara Musiani Monica Chili Agenzia Informazione e ufficio Stampa della Giunta Traduzioni Morena Grandi Catia Luccarini Logos Group, Modena Cristina Turchi Servizio Cultura, Sport e Progetto Giovani Laura Grossi Servizio Lavoro nine Steps THROUGH HISTORY Emilia-Romagna tells its story ine steps through history has been created through the Ncollaboration between various departments of our Regional Administration, with the aim of sketching a portrait of Emilia-Romagna and its history in simple words, accompanied by Sergio Tisselli’s admirable watercolours.
    [Show full text]
  • 94 Tugboat, Volume 37 (2016), No. 1 Book Reviews: Giambattista Bodoni
    94 TUGboat, Volume 37 (2016), No. 1 Book reviews: Giambattista Bodoni: His Life A way around this problem is to refuse to write too and His World by Valerie Lester much about the intricacies of the person’s work, focus- ing instead on his or her life, on the premise that a genius Boris Veytsman is interesting not only because of what he or she did, but Valerie Lester, Giambattista Bodoni: His Life and His also because of what he or she was. The popularity of bi- World. David R. Godine, Publisher; Boston, 2015, ographies of Einstein, Turing or Dante shows that even people not much interested in physics, mathematics or 288 pp., ill. US$40.00. ISBN 978-1567925289. medieval Italian poetry & politics may be fascinated by these remarkable lives. Moreover, biographies written in this style, as life stories rather than work stories, may also be of considerable value for experts. While the lat- ter know only too well what the geniuses did, their back- grounds sometimes provide insights into why they did it. This is especially true with respect to artists’ biogra- phies, where the background is immensely relevant for the art. The best books of this kind give the reader the feeling of becoming acquainted with their subjects, of knowing them rather than knowing about them. This book by Valerie Lester is an excellent example of this style of biography. It does not try to be a disserta- tion on typography. You will not nd there a discussion about Garalde vs. Didone; nowhere does the author men- tion the dierence between humanist and modern axes or other favorite topics of font cognoscenti.
    [Show full text]
  • Giambattista Bodoni
    Giambattista Bodoni iambattista Bodoni theFather was born as “Bodoni” made other than the Duke’s. of Latin, Greek, Febuary its appearance about During this time, Russian, Hebrew, 16, 1740, in 1790. Bodoni printed many Etruscan, Turkish, Saluzzo, Piedmont, important works, the Tartar, Ethiopian, Italy. His father was Bodoni’s pages were most famous of which gothic, and Asian a printer, and Bodoni not easily read. He were fine editions of fonts, script types was also trained in emulated Baskerville’s the writings of Horace with flourishes in the the trade. In 1758, priniciple of page and Virgil (1791 and capital letters, lines, he traveled to Rome, design but not 1793, respectively) borders, numbers, where he became Baskerville’s typefaes. and Homer’s Iliad in symbols, and musical a typesetter in the Rather, Bodoni 1808. These books notation. He was Vatican’s Propaganda mechanically varied were best known working on a second Fide printing works. the difference between for their beauty edition of the book Ten years later, he the thick and thin and typographical when he died, and his assumed management strokes of his letters exellence rather widow, Margherita of the Stamperia Reale to achieve the ultimate than for their textual Dall’Aglio, published (Royal Press) of the contrast possible. accuracy. Bodoni it in 1818. The second, Duke of Parma, where This strong difference achieved international two-volume edition he produced Italian, in thick and thin fame in the final contained examples of Greek, and Latin strokes gave his pages years of his life, 373 alphabets. books and printed a “sparkle” that made garnering compliments material for court use.
    [Show full text]
  • La Parola Scritta: Italia Nel Mundo Selections from the Rare Book Collections 1482 Euclid. Elementa Geometriae. Venice, Erhardt
    RARE BOOKS SPECIAL COLLECTIONS J. WILLARD MARRIOTT LIBRARY THE UNIVERSITY OF UTAH La Parola Scritta: Italia nel Mundo selections from the rare book collections 1482 Euclid. Elementa geometriae. Venice, Erhardt Ratdolt, 1482 xQA31 E86 E5 1482 [This is the editio princeps, or first printed edition, of Euclid’s Elements of Geometry, the oldest mathematical textbook still in common use today. The Greek mathematician Euclid compiled the work around 300 BC. Its success can be attributed to its simple structure where each theorum follows logically from its predecessor. In 1482, Erhardt Ratdolt, famous for his beautifully produced scientific books, printed eight works – Euclid’s Elements among them. German Erhard Ratdolt ran a printshop in Venice from 1476 to 1486. His fame largely rests upon this edition of Elements. It is the first printed book to contain geometrical figures. An elegant three-sided wooden block and a white-vine style woodcut initial, several hundred small ornamental capitals, and over four hundred and twenty carefully designed and perfectly printed marginal diagrams, confirm its standing as a landmark publication. The page layout, particularly the first page, is an outstanding example of Ratdolt’s consideration of the overall look and readability of his work. Note the closeness of the type to the initial and the close set of the text page. For the text, Ratdolt used a type called “rotunda” or “round-text.” The Italian writing-masters called this littera moderna to distinguish it from textura, blackletter, type. Ratdolt’s book was based on the standard Euclid of the later Middle ages: Adelard of Bath’s twelfth-century translation from the Arabic, revised in the following century by Campanus of Novara (d.
    [Show full text]
  • Giambattista Bodoni: His Life and His World Online
    Jim6U [Read download] Giambattista Bodoni: His Life and His World Online [Jim6U.ebook] Giambattista Bodoni: His Life and His World Pdf Free Valerie Lester ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #929797 in Books 2015-08-11Original language:EnglishPDF # 1 10.20 x 1.20 x 7.30l, .92 #File Name: 1567925286288 pages | File size: 77.Mb Valerie Lester : Giambattista Bodoni: His Life and His World before purchasing it in order to gage whether or not it would be worth my time, and all praised Giambattista Bodoni: His Life and His World: 3 of 3 people found the following review helpful. Valerie Lester has done a great service to the type community by writing Giambattista BodoniBy Cara Di EdwardoValerie Lester has done a great service to the type community by writing Giambattista Bodoni: His Life and His World. Until now there has been no biography of Bodoni in English, apart for T.M. Cleland’s short biographical sketch written nearly 100 years ago.However, this book can also be enjoyed by those who love biography, Italy, and food. Believe me! It shines light on the era in which Bodoni lived (1740-1813), the places in Italy where he thrived, the court of Parma, his worshipful admirers (including another printer, Benjamin Franklin, and an emperor, Napoleon), the food he ate, and the role of his wife who continued to run the press after Bodoni’s death and was responsible for the publication of his masterwork, the Manuale tipografico of 1818.Not only is this biography eminently readable, it is a beautiful example of book art at its finest.
    [Show full text]