DOCSLIB.ORG

Digital Magazine DESIGN

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Magazine DESIGN cover 2/4/2003 11:38 Page 1 Honeywill and Carpenter Publishers of contemporary high-street magazines invest more and more money in developing innovative design for an increasingly design-literate reader. Innovation, however, must always be grounded in the underlying conventions of legibility to ensure loyal readership and economic success. Digital Magazine Design provides detailed descriptions of all the necessary rules of design, and uses these rules to cast a critical eye over a selection of contemporary high-street digital magazine magazines. The second part of this volume, written by publishing students, demonstrates how the tools of design can be applied to the analysis and practice of contemporary magazine design. Through an understanding of the relationship between text, image and design, and the ability to make informed judgements, the student is able to critically evaluate all publishable material. DESIGN Paul Honeywill is a graphic designer and the Programme Director of Visual Arts at the University of Plymouth. He is the author of Visual Language for the World Wide Web (www.w3icons.com) and co-author of Digital Design using QuarkXPress 4. Daniel Carpenter is a publishing graduate from the University of Plymouth. ISBN 1-84150-086-0 intellect books intellect www.intellectbooks.com 9 781841 500867 Approaching Magazine Design with student case studies edited by Paul Honeywill Daniel Carpenter intellect™ Bristol. UK Portland OR, USA First published in 2002 by intellect Books PO Box 862, Bristol, BS99 1DE, UK First published in USA in 2002 by intellect Books ISBS, 5804 N. E. Hassalo St, Portland, Oregon 97213-3644, USA Copyright Part 1 ©2002 Paul Honeywill Part 2 ©2002 Jennifer Campbell, Becky Gadd, Daniel Carpenter, Paul Prudden, May Yao and Alison Evans respectively All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission. Consulting Editor Masoud Yazdani Edited by Daniel Carpenter Cover design by Paul Honeywill and Daniel Carpenter A catalogue record for this book is available from the British Library Electronic ISBN 1-84150-972-8 / ISBN 1-84150-086-0 Printed and bound in the UK by Antony Rowe, Eastbourne Contents Acknowledgements 4 Preface 5 Part 1 Design Skills Chapter 1 Stepping up to the Interface 7 2 Underlying Principles 13 3 Setting up the Page 21 4 Manipulating the Page 35 5 Understanding Type 53 6 Potential Problems 67 Part 2 Student Case Studies Chapter 7 Essentials and Shout 79 8 Kerrang! 87 9 Hotline 103 10 Hi-Fi News 117 11 She and Real Simple 129 12 Empire and Classic FM 141 Bibliography 155 Index 157 Acknowledgements The author and editor would like to thank the postgraduate students of the University of Plymouth Faculty of Arts and Education for their contributions, Jane Weston for her help and advice, and Phil Cutler and Nic Earle for their technical support. Trademarks Throughout this book trademarked names occur. Rather than put a trademark symbol in every occurrence, we state that the names are used only in an editorial fashion and to the benefit of the owner with no intention of infringement. Preface Page design without the aid of a computer is almost unheard of these days, but there is still much to learn from the past by applying accepted principles to contemporary magazine design. Laying out pages before computers required a detailed understanding of the processes involved. The advent of desktop publishing has led to the removal of many of those processes which retained trade and professional specialisms, such as graphic design, typesetting and so on. Consequently, DTP became branded as a lower order of design by some professionals. In many cases it was a lack of design knowledge that gave dismissive ammunition to the elite few who regarded DTP in this way. In its defense, it was not the technology that reflected the design quality; it was its availability to anybody who wanted to ‘desktop publish’. Contemporary publications can have very complex designs and by analyzing their structure and components it is possible to understand and apply these methodologies to other areas of design such as leaflets, posters and so on. Magazines are a good starting point because they know who their audience is and are designed accordingly. The first part of this book will equip you with a foundation of knowledge that will allow you to develop appropriate design skills by understanding what to look for, as opposed to being shown examples of clever designs which you could reproduce only by step-by-step copying without knowing why. The second part of this book contains a series of case studies by postgraduate Publishing students who have used the first part of this book as reference in the form of course handouts. None of these students have a design background, but because technology allows one person to perform many tasks within the publishing process it is important for them to have this grounding. Each case study is concerned with text, image, design and the way a reader perceives published material through legibility and editorial suitability for its intended use. Through understanding the relationship between these factors and being capable of making informed judgments, the student is able to make a critical and analytical evaluation of all publishable material. This is achieved through the analysis of a magazine publication’s physical architecture, graphic and typographic personality, method of production and intended readership. Postgraduate publishing students at the University of Plymouth are required to develop the case study by identifying a magazine which is relevant to their interest and worthy of further study by devising a small-scale investigation or project to carry out. As I have said, none of the students who have written the case studies are designers, but they will be expected to work with design and edit text in their chosen career as publishers. In this respect, it is the intention of this book to equip the reader with the tools of design and to give examples of how to achieve good practice in applying these tools to contemporary printed material. Paul Honeywill University of Plymouth Chapter 1 Stepping up to the Interface There are many page-design If you are relatively new to using a computer to design a page, this programs. However, the chapter suggests an initial approach. When learning a specific principles of stepping up to page-design program, it is always best to understand the real- the interface are almost world metaphor that the software uses to describe the tools and always the same. Students techniques that a graphic designer would use. I have always found who have undertaken the it useful for the student to understand how a program describes case studies in the final the computer interface as a working graphic studio, and then section of this book have all position the student in relation to the computer and the design. used QuarkXPress. Most Learning software on its own is insufficient, even though page- interface references will be design training often tends to be confined to software learning. to that program. Understanding comes from your knowledge of the metaphor that the computer uses to describe the real world. If you, as a student, understand the logic of the metaphor and its functions, you are then equipped to learn, develop and exploit the nature of digital design. Volume low You learn to navigate through the real world by recognizing representational symbols that describe objects, and the actions that you should take as a consequence. You are able to adjust the sound level on your computer with relative ease because the Volume high graphic representation of the volume control is familiar. An unfamiliar image would not enable you to understand its function. You understand the Learning to use any page-design program is no different. By metaphor that the computer unpacking and understanding these processes you should be able volume control uses to to familiarize yourself each time your chosen software package is describe the real world; upgraded or undergoes a major redesign of its interface and when you adjust the volume functions. control this is exactly what By doing so you can extend this approach and apply this you expect. Learning to use method to any software. This introductory chapter could be used your chosen page-design for any program which has been written to operate in a windows software is no different. environment for either Macintosh or PC. What is important is your 7 Chapter 1 understanding of what the action words mean and how the desktop metaphor of noun and verb represent these actions. When using the image-manipulation software Photoshop, a photographer would understand the function of a Noise Filter for Despeckling or altering the radius of the Median because it relates to a real-life process that he or she is familiar with. A graphic designer will understand the language of typography used as the action verbs within page design programs, such as track (overall space between letters and words) and kern (individual space between letters). The nature of design using a computer allows you to reflect upon human perception, which tends to be altered through the new possibilities that the digital capability of a computer can offer. By exploring the potential of design using computers, new opportunities can be established. There are three distinct concepts you need to understand to effectively use page-design programs as a tool: The software object/action computer interface is a metaphor for working in a graphic design studio; Knowledge of design, its principles and its terminology are just as important when using a computer to design as they ever were; Certain elements of design remain constant, while other elements can be exploited using a computer.
Load more

Recommended publications
  • Oral History Interview with Massimo Vignelli, 2011 June 6-7
    Oral history interview with Massimo Vignelli, 2011 June 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Massimo Vignelli on 2011 June 6-7. The interview took place at Vignelli's home and office in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mija Riedel has reviewed the transcript and have made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Massimo Vignelli in his New York City office on June 6, 2011, for the Smithsonian Archives of American Art. This is card number one. Good morning. Let's start with some of the early biographical information. We'll take care of that and move along. MASSIMO VIGNELLI: Okay. MIJA RIEDEL: You were born in Milan, in Italy, in 1931? MASSIMO VIGNELLI: Nineteen thirty-one, a long time ago. MIJA RIEDEL: Okay. What was the date? MASSIMO VIGNELLI: Actually, 80 years ago, January 10th. I'm a Capricorn. MIJA RIEDEL: January 10th.
    [Show full text]
  • Preparing Images for Delivery
    TECHNICAL PAPER Preparing Images for Delivery TABLE OF CONTENTS So, you’ve done a great job for your client. You’ve created a nice image that you both 2 How to prepare RGB files for CMYK agree meets the requirements of the layout. Now what do you do? You deliver it (so you 4 Soft proofing and gamut warning can bill it!). But, in this digital age, how you prepare an image for delivery can make or 13 Final image sizing break the final reproduction. Guess who will get the blame if the image’s reproduction is less than satisfactory? Do you even need to guess? 15 Image sharpening 19 Converting to CMYK What should photographers do to ensure that their images reproduce well in print? 21 What about providing RGB files? Take some precautions and learn the lingo so you can communicate, because a lack of crystal-clear communication is at the root of most every problem on press. 24 The proof 26 Marking your territory It should be no surprise that knowing what the client needs is a requirement of pro- 27 File formats for delivery fessional photographers. But does that mean a photographer in the digital age must become a prepress expert? Kind of—if only to know exactly what to supply your clients. 32 Check list for file delivery 32 Additional resources There are two perfectly legitimate approaches to the problem of supplying digital files for reproduction. One approach is to supply RGB files, and the other is to take responsibility for supplying CMYK files. Either approach is valid, each with positives and negatives.
    [Show full text]
  • FTA First Guide
    Design Guide An SPI Project DESIGN FLEXOGRAPHIC TECHNICAL ASSOCIATION FIRST 4.0 SUPPLEMENTAL FLEXOGRAPHIC PRINTING DESIGN GUIDE 1.0 Design Introduction 1 5.0 File Formats and Usage 30 1.1 Overview 2 5.1 Specified Formats 30 1.2 Responsibility 2 5.2 Portable Document Format (PDF) 30 1.3 Assumptions 3 5.3 Clip Art 31 5.4 Creating and Identifying FPO Continuous Tone Images 31 2.0 Getting Started 4 5.5 Special Effects 31 2.1 Recognizing Attributes of the Flexographic Process 4 5.6 Image Substitution – Automatic Image Replacement 32 2.2 Materials and Information Needed to Begin 5 5.7 File Transfer Recommendations 32 2.2.1 Template Layout / Die-Cut Specifications 55.8 Program Applications 32 2.3 File Naming Conventions 6 6.0 Preflight of Final Design Prior to Release 33 6 2.4 Types of Proofs 8 6.1 Documenting the Design 33 2.5 Process Control Test Elements 9 6.2 Release to Prepress 34 3.0 Type and Design Elements 9 3.1 Typography: Know the Print Process Capabilities 9 3.1.1 Registration Tolerance 12 3.1.2 Process Color Type 13 3.1.3 Process Reverse/Knockout 13 3.1.4 Line Reverse/Knockout 13 3.1.5 Drop Shadow 13 3.1.6 Spaces and Tabs 14 3.1.7 Text Wrap 14 3.1.8 Fonts 14 3.2 Custom and Special Colors 16 3.3 Bar Code Design Considerations 17 3.3.1 Bar Code Specifications 18 3.3.2 Designer Responsibilities 18 3.3.3 USPS Intelligent Mail Bar Code 22 3.4 Screen Ruling 22 3.5 Tints 23 3.6 Ink Colors 24 4.0 Document Structure 25 4.1 Naming Conventions 26 4.2 Document Size 26 4.3 Working in Layers 26 4.4 Auto-Traced / Revectorized Art 26 4.5 Blends, Vignettes, Gradations 27 4.6 Imported Images – Follow the Links 28 4.7 Electronic Whiteout 29 4.8 Image Capture Quality – Scanning Considerations 29 4.9 Scaling & Resizing 30 4.10 Color Space 30 FLEXOGRAPHIC IMAGE REPRODUCTION SPECIFICATIONS & TOLERANCES 1 DESIGN 1.0 DESIGN INTRODUCTION 1.1 Overview FIRST 4.0 is created to facilitate communication among all participants involved in the design, preparation and printing of flexographic materials.
    [Show full text]
  • Guide to Publishing at the US Department of Education
    DOCUMENT RESUME ED 457 533 CS 510 669 AUTHOR Ohnemus, Edward; Zimmermann, Jacquelyn TITLE Guide to Publishing at the U.S. Department of Education. November 2001 Edition. INSTITUTION Department of Education, Washington, DC. Office of the Secretary.; Office of Public Affairs (ED), Washington, DC. PUB DATE 2001-11-00 NOTE 56p. AVAILABLE FROM ED Pubs, P.O. Box 1398, Jessup, MD 20794-1398. Tel: 877-433-7827 (Toll Free); Web site: http://www.ed.gov/pubs/edpubs.html. PUB TYPE Guides - Non-Classroom (055) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Editing; *Federal Government; Guidelines; Layout (Publications); Printing; Speeches; *Writing for Publication ABSTRACT This guide is intended for use by United States Department of Education employees and contractors working on manuscripts to be published by all principal offices except for the Office of Educational Research and Improvement, which includes the National Center for Education Statistics. It helps authors publish according to the duties and responsibilities of the United States Department of Education, whose mission is to ensure equal access to education and to promote educational excellence throughout the nation. Sections of the guide are: Your First Steps toward Publishing; Who Should Use This Guide; How This Guide Will Help You; Why You Must Publish through Government Channels; Getting Your Manuscript Edited and Printed; Getting Your Manuscript Designed; Steps in a Typical Printing Job at ED; Parts of a Publication; Sample Verso (Boilerplate) Page; Verso Page Explanation; The Writing Guides to Use; Limits on Content; Publishing Translations of ED Publications; Publishing Newsletters; Stationery and Business Cards; Giving and Publishing Official Speeches; How Your Publication Will Reach the Audience for Whom It Was Intended; and Forms Needed To Get Your Manuscript Edited and Printed.
    [Show full text]
  • A Sketch of the History of Music-Printing, from the Fifteenth to The
    A Sketch of the History of Music-Printing, from the Fifteenth to the Nineteenth Century ( Continued) Author(s): Friedrich Chrysander Source: The Musical Times and Singing Class Circular, Vol. 18, No. 413 (Jul. 1, 1877), pp. 324-326 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3355495 Accessed: 17-01-2016 05:24 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 130.240.43.43 on Sun, 17 Jan 2016 05:24:14 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL 324 TIMES.--JuLY I, 1877. is only the shallow water that foams and rages. Judging him by this standard of his own, we must Farther out the "blue profound" merely rises in unfortunatelycancel a considerable part of his book. obedience to force and then sinks again to rest upon Poor Schmid! Too much learning often dulls the the spot from which it rose. So with the effect of spirit, if there is not on the other side a little his- fashion on a nation's music.
    [Show full text]
  • FFTA FIRST 5.0 Design Guide (Pdf)
    Complimentary Design Guide 5.0 Flexographic Image Reproduction Specifications & Tolerances Complimentary Design Guide An FTA Strategic Planning Initiative Project The Flexographic Technical Association has made this FIRST 5.0 supplement of the design guide available to you, and your design partners, as an enhancement to your creative process. To purchase the book in it’s entirety visit: www.flexography.org/first Copyright, © 1997, ©1999, ©2003, ©2009, ©2013, ©2014 by the Flexographic Technical Association, Inc. All rights reserved, including the right to reproduce this book or portions thereof in any form. Library of Congress Control Number: 2014953462 Edition 5.0 Published by the Flexographic Technical Association, Inc. Printed in the United States of America Inquires should be addressed to: FTA 3920 Veterans Memorial Hwy Ste 9 Bohemia NY 11716-1074 www.flexography.org International Standard Book Number ISBN-13: 978-0-9894374-4-8 Content Notes: 1. This reference guide is designed and formatted to facilitate ease of use. As such, pertinent information (including text, charts, and graphics) are repeated in the Communication and Implementation, Design, Prepress and Print sections. 2. Registered trademark products are identified for information purposes only. All products mentioned in this book are trademarks of their respective owner. The author and publisher assume no responsibility for the efficacy or performance. While every attempt has been made to ensure the details described in this book are accurate, the author and publisher assume no responsibility for any errors that may exist, or for any loss of data which may occur as a result of such errors. .1 ii Flexographic Image Reproduction Specifications & Tolerances 5.0 INTRODUCTION The Mission of FIRST FIRST seeks to understand customers’ graphic requirements for reproduction and translate those aesthetic requirements into specifications for each phase of the flexographic printing process including: customers, designers, prepress providers, raw material & equipment suppliers, and printers.
    [Show full text]
  • Guidelines for Preparing and Submitting Electronic Design and Pre-Press Files Professional Graphics (Part 1) 427-033 Electronic Design 9/11/97 2:03 PM Page 1
    427-033 Electronic Design 9/12/97 6:52 AM Page c1 U.S. Government Printing Office Publication 300.6 August 1997 Guidelines for Preparing and Submitting Electronic Design and Pre-Press Files Professional Graphics (Part 1) 427-033 Electronic Design 9/11/97 2:03 PM Page 1 To Our Customers, The United States Government Printing Office (GPO) is dedicated to providing our customers the best possible printed job at the lowest possible price, while meeting each customer’s deadline. To do this effec- tively, GPO must be able to provide usable Electronic Design and Pre-Press (EDPP) files to the printing contractor. Commonly referred to as Desktop Publishing, EDPP covers electronic publishing from design to press. The following guidelines will assist you in preparing effective EDPP files for items created using professional publish- ing software packages. Due to the many advantages of digital design, we encourage all of our customers to consider submitting jobs as digital copy on electronic media. Your assistance in following these guidelines is appreciated. MICHAEL F. DIMARIO Public Printer PG–1 427-033 Electronic Design 9/11/97 2:03 PM Page 2 Special Notes The EDPP guidelines are a two-part set dedi- cated to providing customers with valuable information about creating publications on a desktop computer. The section that you are currently reading is Part 1—Professional Graphics. If you are a customer who is currently using an Office Graphics (OG) application such as Word- Perfect, Microsoft Word, Microsoft Powerpoint, Microsoft Excel, Freelance Graphics, Microsoft Publisher or Harvard Graphics, please refer to Part 2—Office Graphics.
    [Show full text]
  • Administrator's Guide
    Oracle® Hyperion Financial Data Quality Management, Enterprise Edition Administrator's Guide Release 11.1.2.4.220 E73556-08 February 2019 Oracle Hyperion Financial Data Quality Management, Enterprise Edition Administrator's Guide, Release 11.1.2.4.220 E73556-08 Copyright © 2009, 2019, Oracle and/or its affiliates. All rights reserved. Primary Author: EPM Information Development Team This software and related documentation are provided under a license agreement containing restrictions on use and disclosure and are protected by intellectual property laws. Except as expressly permitted in your license agreement or allowed by law, you may not use, copy, reproduce, translate, broadcast, modify, license, transmit, distribute, exhibit, perform, publish, or display any part, in any form, or by any means. Reverse engineering, disassembly, or decompilation of this software, unless required by law for interoperability, is prohibited. The information contained herein is subject to change without notice and is not warranted to be error-free. If you find any errors, please report them to us in writing. If this is software or related documentation that is delivered to the U.S. Government or anyone licensing it on behalf of the U.S. Government, then the following notice is applicable: U.S. GOVERNMENT END USERS: Oracle programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, delivered to U.S. Government end users are "commercial computer software" pursuant to the applicable Federal Acquisition Regulation and agency- specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, shall be subject to license terms and license restrictions applicable to the programs.
    [Show full text]
  • QP Prepress Form
    PREPRESS SERVICES: OUTPUT SPECIFICATIONS General Information — Requisition No. Customer: Telephone: Contact person: Fax: General job description: Previous Req’n No. Date: Total number of pages: Final trim size X inches Colours: Ⅺ B/W Ⅺ CMYK Time: Ⅺ Ready for output Ⅺ Prepress services required Spot colours: Coordinator: Output Information — to be filled in by client IMPORTANT: Hard copy supplied Ⅺ Laser proof Ⅺ Colour proof Ⅺ Did you send a copy of your file(s), not the original? Document name Number of pages Actual size Ⅺ Did you send only final versions of files to be output and delete all old files? Ⅺ Did you use ‘‘Collect for Output’’ or ‘‘Save-as, copy all files’’ command to load transport disk? Fonts used Ⅺ Did you label and name all of your disks? Ⅺ Adobe/Lino Ⅺ AGFA Ⅺ TrueType Ⅺ Image Club Ⅺ Other Ⅺ Did you include a ‘‘Print Window’’ directory of disk contents? Please list all font families Ⅺ Did you send a laser proof of all files at 100% to be output with file name clearly written on it? Ⅺ Did you clearly mark each layout element with desired printing colour? Images used Ⅺ Mac Ⅺ PC Ⅺ Did you clearly mark any graduated screens with their beginning and ending screen values? Ⅺ Client-supplied high-resolution Ⅺ Client-supplied FPO Ⅺ Did you allow .125Љ bleed in all layout elements that touch a page Ⅺ APR (Automatic Picture Replacement in SyQuest) edge? Ⅺ OPI (Open Prepress Interface) Ⅺ Did you include all fonts used in documents and graphics (screen File format used Ⅺ TIFF Ⅺ EPS Ⅺ DCS Ⅺ PhotoCD fonts/printer fonts)? Ⅺ Other Ⅺ Did you include all graphic files (tiff, eps) and fonts used to create them? Ⅺ Archive scans requested Ⅺ Did you mark all graphics ‘‘LIVE’’ or ‘‘FPO’’ (For Position Only) with the graphics file name clearly indicated on your laser proof? Ⅺ Did you clearly indicate on your laser proof whether or not keylines print? Trapping Ⅺ Provided by client࠽0.
    [Show full text]
  • The Methods and Business of Petrucci Vs. Attaingnant
    Musical Offerings Volume 7 Number 2 Fall 2016 Article 2 9-2016 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Sean A. Kisch Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Book and Paper Commons, Fine Arts Commons, Musicology Commons, Printmaking Commons, and the Publishing Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Kisch, Sean A. (2016) "Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant," Musical Offerings: Vol. 7 : No. 2 , Article 2. DOI: 10.15385/jmo.2016.7.2.2 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss2/2 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Document Type Article Abstract The music printing of Ottaviano Petrucci has been largely regarded by historians to be the most elegant and advanced form of music publishing in the Renaissance, while printers such as Pierre Attaingnant are only given an obligatory nod. Through historical research and a study of primary sources such as line-cut facsimiles, I sought to answer the question, how did the triple impression and single impression methods of printing develop, and is one superior to the other? While Petrucci’s triple impression method produced cleaner and more connected staves, a significant number of problems resulted, including pitch accuracy and cost efficiency.
    [Show full text]
  • PETRUCCI B-04 BOORMAN 6-04-2005 11:15 Pagina 125
    PETRUCCI B-04 BOORMAN 6-04-2005 11:15 Pagina 125 STANLEY BOORMAN PETRUCCI IN THE LIGHT OF RECENT RESEARCH It is in the nature of a paper with such a title as this that there can be no single over-arching theme – unless it be that the life and work of Petrucci continue to present surprises and raise problems for the modern interpreter. However, this paper will address a number of diverse issues, which will be subsumed under four different headings: his life before 1520; his contacts for the music he published; his life after 1520 – with perhaps the most interesting new evidence; and something of the implications of patterns of ownership of his editions.1 PETRUCCI’S LIFE BEFORE 1520 Apart from two earlier documents executed in Fossombrone,2 and his privilege application of 1498, Petrucci appears on the scene in 1501 with the immediate triumph of his Harmonice Musices Odhecaton A (RISM 1501).3 This book, with its startlingly brilliant title-initial, with the elegant impagination and individual notational characters, and with the then-unusual landscape format, must have presented an impressive face to browsers in bookshops of the time. Not surprisingly, it has led to the presumption that Petrucci had studied the craft of printing, perhaps in Venice, and presumably after he had studied music (as it was thought) at the court of Urbino. And yet there is no evidence for either. The only list known to me of the “family” of the Urbino Duke, Guidobaldo I, survives in an eighteenth-century copy.4 1 Much of what follows will be examined in greater detail in my forthcoming Ottaviano Petrucci: Catalogue Raisonné (New York: Oxford University Press).
    [Show full text]
  • GPO Form 952 Revised 1/13
    GPO Form 952 Revised 1/13 Quality Control for Procured Printing What is it? The GPO Form 952 is designed to explain the nature of the furnished electronic files, to inform the contractor of what they will receive and ensure their compliance. Filling it out completely will result in detailed specifications, best price, and reduced modifications. This form should be submitted with the electronic media, visuals, file directory, and the SF1 or GPO Form 2511 or 4044. 2 Digital Publishing Information This form should be completed and submitted with the electronic media, visuals, camera copy (if any) and the SF-1 or GPO Form 2511. FOR GPO USE CUSTOMER Jacket no. Agency/Department Date Agency Requisition No. Job Title Program no. Name of Person Completing the Form Phone No. Print Order no. Digital Publishing Technical Contact Mobile No. E-mail Phone No. PREFLIGHT COMPUTER OPERATING SYSTEM AND MEDIA GPO PC System Version MAC System Version Other Initials CD Qty. DVD Qty. Other Qty. Date Internet file transfer: Upload to contractors site Available for download Software SOFTWARE Name(s) of page layout (or other) program used Version Agency Name(s) of program(s) used for illustrations/drawings Version Initials Name(s) of program(s) used for scans, photos, & bitmapped images Version Date Name(s) of other program(s) used Version Software Files are supplied in: Native Format PDF Version description Types of files (jpg, tiff, eps, etc.): FONTS All fonts used in the layout and supporting graphic files MUST BE FURNISHED. If fonts are not furnished, issues such as text reflow, font substitution and loss of menu style (italic, bold, etc.) may occur.
    [Show full text]