Goudy, Master of Letters, Chgo
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Garamond and the French Renaissance Garamond and the French Renaissance Compiled from Various Writings Edited by Kylie Harrigan for Everyone Ever
Garamond and The French Renaissance Garamond and The French Renaissance Compiled from Various Writings Edited by Kylie Harrigan For Everyone ever Design © 2014 Kylie Harrigan Garamond Typeface The French Renassaince Garamond, An Overview Garamond is a typeface that is widely used today. The namesake of that typeface was equally as popular as the typeface is now when he was around. Starting out as an apprentice punch cutter Claude Garamond 2 quickly made a name for himself in the typography industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how much of an influence he was. He has his typefaces, typefaces named after him and typeface based on his original typefaces. As a major influence during the 16th century and continued influence all the way to today Claude Garamond has had a major influence in typography and design. Claude Garamond was born in Paris, France around 1480 or 1490. Rather quickly Garamond entered the industry of typography. He started out as an apprentice punch cutter and printer. Working for Antoine Augereau he specialized in type design as well as punching cutting and printing. Grec Du Roi Type The Renaissance in France It was under Francis 1, king of France The Francis 1 gallery in the Italy, including Benvenuto Cellini; he also from 1515 to 1547, that Renaissance art Chateau de Fontainebleau imported works of art from Italy. All this While artists and their patrons in France and and architecture first blossomed in France. rapidly galvanised a large part of the French the rest of Europe were still discovering and Shortly after coming to the throne, Francis, a Francis 1 not only encouraged the nobility into taking up the Italian style for developing the Gothic style, in Italy a new cultured and intelligent monarch, invited the Renaissance style of art in France, he their own building projects and artistic type of art, inspired by the Classical heritage, elderly Leonardo da Vinci to come and work also set about building fine Renaissance commissions. -
PHASE 3: Year 8 Typography Work from Home Tasks
PHASE 3: Year 8 Typography Work from home tasks: Task: What is typography? – double research page Typography Task 1: Definitions: What is typography? • Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement Complete a title of type involves selecting typefaces, point size, line length, line-spacing page/research page over (leading), letter-spacing (tracking), and adjusting the space within letters pairs a double page (kerning). Include: • A typographer is a person who designs the form and arrangement of type to • Definition make the written word more legible and aesthetically pleasing. Such a person • History of typography might design a font, or define the point size, kerning, and other characteristics • Facts about typography of a typeface • Categories of typography Decorate the page using typography and colour Typography timeline: 1400’s: Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible. 1501: Aldus Manutius created italics – a way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing. 1757: John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines. 1816 William Caslon IV created the first typeface without any serifs at all. -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
A Typeface History
The Evolution of Typefaces 1440 The printing press is invented by Johannes Gutenberg, using Blackletter typefaces. 1470 More readable Roman Type is designed by Nicolas Jenson, combining Italian Humanist lettering with Blackletter. 1501 Aldus Manutius and Francesco Grio create the first italic typeface, which allows printers to fit more text on each page. 1734 William Caslon creates what is now known as “Old Style” type, with more contrast between strokes. 1757 John Baskerville creates Transitional typefaces, with even more contrast than Old Style type. 1780 The first “modern” Roman typefaces—Didot and Bodoni—are created. 1815 The first Egyptian, or Slab Serif, typeface is created by Vincent Figgins. 1816 The first sans-serif typeface is created by William Caslon IV. 1916 Edward Johnston designs the iconic sans-serif typeface used by London’s Underground system. 1920 Frederic Goudy becomes the first full-time type designer, and creates Copperplate Gothic and Goudy Old Style, among others. 1957 Helvetica is created by Max Miedinger. Other minimalist, modern sans-serif typefaces, including Futura, emerge around this time. 1968 The first digital typeface, Digi Grotesk, is designed by Rudolf Hell. 1974 Outline (vector) fonts are developed for digital typefaces, resulting in smaller file sizes and less computer memory usage. Late 1980s TrueType fonts are created, resulting in a single file being used for both computer displays and output devices such as printers. Windows Macintosh 1997 Regular fonts plus variants Regular fonts plus variants Open Type fonts are invented, which allow for cross-platform use on Macs and PCs. Open Type 1997 CSS incorporates the first-ever font styling rules. -
Fine Printing & Small Presses A
Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
52Nd California International Antiquarian Book Fair List
52nd California International Antiquarian Book Fair List February 8 thru 10, 2019 John Howell for Books John Howell, member ABAA, ILAB, IOBA 5205 ½ Village Green, Los Angeles, CA 90016-5207 310 367-9720 www.johnhowellforbooks.com [email protected] THE FINE PRINT: All items offered subject to prior sale. Call or e-mail to reserve, or visit us at www.johnhowellforbooks.com, where all the items offered here are available for purchase by Credit Card or PayPal. Checks payable to John Howell for Books. Paypal payments to: [email protected]. All items are guaranteed as described. Items may be returned within 10 days of receipt for any reason with prior notice to me. Prices quoted are in US Dollars. California residents will be charged applicable sales taxes. We request prepayment by new customers. Institutional requirements can be accommodated. Inquire for trade courtesies. Shipping and handling additional. All items shipped via insured USPS Mail. Expedited shipping available upon request at cost. Standard domestic shipping is $ 5.00 for a typical octavo volume; additional items $ 2.00 each. Large or heavy items may require additional postage. We actively solicit offers of books to purchase, including estates, collections and consignments. Please inquire. This list prepared for the 52nd California International Antiquarian Book Fair, coming up the weekend of February 4 thru 11, 2019 in Oakland, California, contains 36 items including fine press material, leaf books, typography, and California history. Look for me in Booth 914, for more interesting material. John Howell for Books !3 1 [Ashendene Press] ASSISI, Francesco di (1181-1226). I Fioretti del Glorioso Poverello di Cristo S. -
Stop Stealing Sheep & Find out How Type Works
1 Stop Stealing Sheep This page intentionally left blank 3 Stop Stealing Sheep & find out how type works Third Edition Erik Spiekermann Stop Stealing Sheep trademarks & find out how type works Adobe, Photoshop, Illustrator, Third Edition PostScript, and CoolType are registered Erik Spiekermann trademarks of Adobe Systems Incorporated in the United States and/or This Adobe Press book is other countries. ClearType is a trade published by Peachpit, mark of Microsoft Corp. All other a division of Pearson Education. trademarks are the property of their respective owners. For the latest on Adobe Press books, go to www.adobepress.com. Many of the designations used by To report errors, please send a note to manufacturers and sellers to dis tinguish [email protected]. their products are claimed as trademarks. Where those designations appear in Copyright © 2014 by Erik Spiekermann this book, and Peachpit was aware of a trademark claim, the designations appear Acquisitions Editor: Nikki Echler McDonald as requested by the owner of the trade Production Editor: David Van Ness mark. All other product names and Proofer: Emily Wolman services identified throughout this book Indexer: James Minkin are used in editorial fashion only and Cover Design: Erik Spiekermann for the benefit of such companies with no intention of infringement of the notice of rights trademark. No such use, or the use of any All rights reserved. No part of this trade name, is intended to convey book may be reproduced or transmitted endorsement or other affiliation with in any form by any means, electronic, this book. mechanical, photocopying, recor ding, or otherwise, without the prior isbn 13: 9780321934284 written permission of the publisher. -
Presented at Hidden Typography October 20–21, 2003 Friends of St
Presented at Hidden Typography October 20–21, 2003 Friends of St. Bride Printing Library, London, UK Display phototype in New York: folks, firms and fonts. by Peter Bain In the 20th century photo-typography fully displaced a 500 year-old tradition of metal type, only to be superseded itself shortly thereafter. Yet most appraisals of type technology and histories of proprietary typefounding still favor type for text instead of eye-catching display. One characteristic feature of 20th century typography was the great effort devoted to ephemera and advertising. This survey is a local view of a half-century, concentrating on display type in New York City. Since New Yorkers have been said to believe they are at the center of the planet, it is fascinating to find a time when it could appear nearly so, typographically. Lettering and the New York typographic environment The city in the first half of the 20th century was an established communications center for a burgeoning national market. There is ample evidence of local interest in unique letterforms. Sometime Queens- borough resident and typeface designer Frederic Goudy received a commission from retailer Saks Fifth Avenue. The successful New York illustrator and letterer Fred G. Cooper had his distinctive forms included in the same publications that featured an unrelated Windy City designer, Oswald Cooper. Architect H. Van Buren Magonigle and industrial designer Walter Dorwin Teague had both skillfully rendered capitals for print, while their Manhattan offices pursued projects in three dimensions. One of the more curious examples of this fluency in letterforms was a 1943 booklet issued by the Brooklyn- based Higgins Ink Co. -
Assignment 4 - Show Me 26 November 2019 17:04
Assignment 4 - Show me 26 November 2019 17:04 Feeling The height of the type piece is known as the ‘em’, and it The most important thing about a type design is the feelings it evokes. This is notoriously hard to verbalise, but originates from the width of the uppercase ‘M’ character; it is what makes a particular typeface meaningfully different from any other. it was made so that the proportions of this letter would A type designer in Portugal, Natanael Gama, designed the Exo family with FontForge. On his homepage he be square (hence the ‘em square’ denomination). describes another project for the sculptor John Williams and includes a graphic showing his brief in a matrix of The em size is what the point size of metal type is continuums of feelings: calculated upon. So, a 10 points type has a 10 points • Figurative to Abstract 50% em (see below). • Graceful to Robust: 30% In digital type, the em is a digitally-defined amount of • Calm to Energetic: 0% space. In an OpenType font, the UPM — or em size is • Puzzling to Plain: 15% usually set at 1000 units. In TrueType fonts, the UPM is by • Experimental to Standard: 15% convention a power of two, generally set to 1024 or 2048. • Prestigious to Ordinary: 15% When the font is used to set type, the em is scaled to • Other Ideas: Beautiful, Outside Spaces, Human Condition the desired point size. This means that for 10 pt type, the 1000 units for instance get scaled to 10 pt. From <http://designwithfontforge.com/en-US/Planning_Your_Project.html> So if your uppercase ‘H’ is 700 units high, it will be 7 pt high on a 10 pt type. -
John Fass Hammer Creek Press
Lititz Historical Foundation Inventory of The John Fass Papers Lititz Museum 145 East Main Street Lititz, PA 17543 http://www.lititzhistoricalfoundation.com Compiled by: Lee J. Stoltzfus June, 2011 Lititz, Pennsylvania Summary Creator: John Stroble Fass (1890-1973) Date Span: 1920s to 1960s, primarily 1920s and 1930s Contents: Pencil sketches of Fass' book designs, proofs for his title pages and text pages, bookplates, correspondence, photographs, book prospectuses, printing samples, and ephemera related to the life and career of book designer and graphic artist John S. Fass The John Fass papers at the Lititz Historical Foundation are an intriguing window into the world of fine-press printing and publishing in Manhattan during the 1920s and 30s. The papers include more than 950 items collected by Lititz native John Fass, who was born here in 1890. Fass returned to Lititz to retire, after a jazzy career in book publishing and advertising in The Big Apple. John Fass was one of the most respected American book designers of his era. His career in graphic design brought him in close contact with the best fine-press publishers, printers, and graphic artists, whose work is well represented in this collection. The papers include examples of Fass' work as a graphic designer and co-owner of the the Harbor Press in Manhattan, which printed and published fine books from 1925 to 1938. Included are Fass' pencil sketches for title pages, text pages, and bookplates. Also included are proof pages for books from this press. Previously, from 1923 to 1925, John Fass was employed by the printing house of William Edwin Rudge in New York. -
Frederic W. Goudy Collection, Dates: 15Th Century-1979
http://oac.cdlib.org/findaid/ark:/13030/c87m0dg4 No online items Guide to the Frederic W. Goudy Collection Michael P. Palmer, MLIS Ella Strong Denison Library © 2016 Scripps College. All rights reserved. 1090 Columbia Ave Claremont 91711 Email: [email protected] URL: https://www.scrippscollege.edu/denison/ Guide to the Frederic W. Goudy D.Mss.0005 1 Collection Descriptive Summary Title: Frederic W. Goudy Collection, Dates: 15th century-1979. Date (bulk): 1923-1947. Collection number: D.Mss.0005 Creator: Goudy, Frederic W. (Frederic William), 1865-1947 Donor: Drake, Dorothy M. (Dorothy Margaret), 1904-1999 Donor: Duvall, Florence E. (Florence Elizabeth), 1903-1971 Donor: Foster, Joseph A. (Joseph Arnold), 1905-1987 Donor: Strouse, Norman H. (Norman Hulbert), 1906-1993 Extent: 16 linear feet (22 boxes). Repository: Scripps College. Ella Strong Denison Library. Claremont, CA 91711. Abstract: Print items, proofs, typescripts, manuscripts, patterns, correspondence, photographs, memorabilia, ephemera, and other materials relating to the work and life of printer, artist, and type designer Frederic W. Goudy (1865-1947) and, in particular, his relationship with Scripps College. The materials include print copies, manuscripts, typescripts, drafts, and proofs of writings and speeches by Goudy, and original drawings, tracings, patterns of types, bookplates, lettersheads, monograms, and ornamented initial letters designed by him. The collection also contains broadsides, handbills, and other materials published by the Village Press, founded and operated by Goudy and his wife, Bertha M. Goudy, from 1903 until 1939; keepsakes of the "Pilgrimage to Deepdene", the celebration of the 35th anniversary of the founding of the press (1938); examples of printings utilizing Goudy type by presses other than the Village Press, in particular the Aries Press, Earl H. -
Frederic W. Goudy Correspondence 1935-1946 Anne Thomen
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1977 Frederic W. Goudy Correspondence 1935-1946 Anne Thomen Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Thomen, Anne, "Frederic W. Goudy Correspondence 1935-1946" (1977). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Frederic W. Goudy Correspondence 1935-19^6 by Anne D. Thomen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing in the College of Graphic Arts and Photography of the Rochester Institute of Technology May, 1977 Thesis advisor* John Bidwell Certificate of Approval--Master's Thesis School of Printing Rochester Institute of Technology Rochester, New York CERTIFICATE OF APPROVAL MASTER'S THESIS This is to certify that the Master's Thesis of Anne D. Thomen with a major in Printing Technology has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of June, 197.7 Thes is Committee I John Bidwell Thesis adviser Name Illegible Graduate adviser Name Illegible Director J Abstract approved, John Bidwell • thesis adviser Reference-Acquisitions Librarian William Andrews Clark • title and department Memorial Library 19 Nov. 1979 • date TABLE OF CONTENTS ABSTRACT , PREFACE 1 Footnotes for Preface 8 CALENDAR INTRODUCTION -9 Footnotes for Calendar Introduction 22 CONCLUSIONS 26 Footnotes for Conclusions 30 CALENDAR , 31 LIST OF REFERENCES 657 INDEX 665 TYPE INDEX 696 ill ABSTRACT American printing of the late nineteenth century was crude and commercial in the worst sense.