DOCSLIB.ORG

Frederic W. Goudy Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frederic W. Goudy Collection Special Collections Department Frederic W. Goudy Collection 1922 -1969 (bulk dates 1930 - 1950) Manuscript Collection Number: 209 Accessioned: Purchase, 1987. Extent: 1.5 linear ft. (410 items) Content: Pamphlets, broadsides, printed ephemera, books and articles related to Frederic W. Goudy and The Village Press. Access: The collection is open for research. Processed: 1990-1991 by Anita A. Wellner. for reference assistance email Special Collections or contact: Special Collections, University of Delaware Library Newark, Delaware 19717-5267 (302) 831-2229 Table of Contents Biographical Note Scope and Contents Note Series Outline Contents List Biographical Note Frederic W. Goudy, world renowned type designer, was born March 8, 1865 in Bloomington, Illinois. Raised in the small prairie town of Shelbyville, Illinois, in his youth Goudy worked as the high school janitor and as an assistant to Shelbyville's leading paperhanger. During this time, guided by an old worn copy of a Bruce Foundry specimen book, Goudy cut his first type face from a roll of flowered wall paper. Graduating from Shelbyville High School in 1883, Goudy became a bookkeeper. When his father was appointed Federal probate judge in Hyde County in the frontier territory of South Dakota, Goudy worked as a clerk and bookkeeper in his father's real estate office. He continued bookkeeping after he moved to Minnesota in 1887 and later moved on to Chicago to work as a clerk in a bookstore. While examining the books he sold, he determined that they were not printed as well as they might be. He began to read every available book on typography and made visits to veteran printers for a hands-on education. In 1895, with Lauren C. Hooper, a Chicago English instructor, Goudy established the Camelot Press and for a time printed a magazine called Chapbook. Due to financial difficulties, the magazine and the press lasted less than a year. Mr. Goudy resumed working as a bookkeeper, and in 1897 married a fellow bookkeeper, Miss Bertha M. Sprinks. Goudy continued in a variety of jobs, but on the side he designed and sold his first alphabet of letters to the Dickinson Type Foundry for $10, which proved to be a good investment since the type, known as Camelot, remains popular today. In 1903 Mr. Goudy acquired a partner, $300 in capital, 150 pounds of type, and he set up the Village Press in Park Ridge, Illinois. An essay by William Morris was the first book he printed. The press was moved a number of times, from Illinois to Hingham, Massachusetts, to New York City. Mrs. Goudy eventually took the partner's place and learned to set type by hand. By the time of her death in 1935 she was an expert typesetter. The Goudys faced continual financial difficulties even though Goudy won the bronze medal given at the St. Louis World's Fair for book printing in 1904. Fire destroyed the Parker Building and the Village Press in 1908. The Village Press was rebuilt in Forest Hills, Queens, on Deepdene Road where it remained until 1924, when Goudy moved it to Marlboro, New York. While at Forest Hills, Goudy earned his world-wide reputation as a type designer. During this period he sold eight new type faces to the famous Caslon Foundry in England. He also designed two of his greatest types for Mitchell Kennerley: Kennerley and Forum Title. The increase in advertising during the early twentieth century provided much business for Goudy. He sold type faces to such firms as the National Biscuit Company and the Procter and Gamble Manufacturing Company. In 1920 Mr. Goudy became art director for the Lanston Monotype Company. After moving to Marlboro, the Village Press was established in an old mill built in 1790 near the waterfall of Jew's Creek and his home, named Deepdene. Here the Goudy family, including their son, Frederic T. Goudy, worked in the manner of the artisan families of the sixteenth century. A fire in 1939 completely destroyed the Village Press for a second time, with the incalculable loss of original designs of a number of type faces, among them, Medieval, Tory, Village Text, and Bertham. Goudy did not try to re-establish the press but did continue designing type faces. In 1940, on his seventy-fifth birthday, he was appointed a lecturer in type design at the school of journalism at Syracuse University. Goudy won a number of honors for his fine books, including the gold medal of the American Institute of Graphic Arts, the Friedsam gold medal of the Architectural League of New York, and the medal of honor of the Ulster-Irish Society of New York. Goudy was the author of a number of books, including: Elements of Lettering, The Alphabet, Capitals From the Trajan Column, and Typologia. Mr. Goudy was a member of the Grolier Club, Typophiles, and the Stowaways Club of New York. Sources: Milton. Glorifier of the Alphabet. Press of The Good Mountain, n.d. Reprinted from The New Yorker, January 14, 1933. Page Proofs for the New York Herald Tribune obituary. n.d. See Box 3, F25. Scope and Content Note The collection consists of material relating to the life and work of Frederic W. Goudy. Included are over 150 printed pamphlets, broadsides, books and printed ephemera by various private presses. These items were printed as tributes to Frederic Goudy on his various birthdays, on anniversaries of The Village Press, and other occasions. For example, the collection includes 33 separate printed pieces, each by a different press, commemorating the celebration of the 35th anniversary of Bertha and Frederic Goudy's The Village Press. Other material in this collection includes tributes to Bertha Goudy, portraits of Frederic Goudy, examples of types designed by Goudy, booklets and articles written by Goudy, material about Goudy and his work, a small amount of correspondence, and samples of his stationery. Series Outline . I. Material Written by Frederic W. Goudy II. Lectures or Talks Delivered by Goudy III. Material Related to The Village Press IV. Printed Material Honoring Frederic Goudy's Birthdays V. Other Material Honoring Frederic Goudy VI. Printed Material Commemorating the 35th Anniversary of the Village Press VII. Material Printed as Memorials to Frederic Goudy VIII. Portraits of Frederic Goudy and Other Pictures IX. Specimens and Examples of Types Designed by Goudy X. Material About Frederic Goudy Written by Other Persons XI. Material Related to Bertha M. Goudy XII. Artwork Collected by Frederic Goudy XIII. Miscellaneous Material Contents List Box -- Folder -- Contents 1 Series I. Material written by Frederic W. Goudy A collection of one book, several articles, and announcements for items written by Goudy. F1 Type Revivals: An Exposition Regarding Independent New Designs. Lexington, VA.: Journalism Laboratory Press, Washington and Lee University, 1937. Printed. 1 item (19 pp.). F2 Announcements and advertising for books written by Goudy. Titles included are: Typologia, A Half Century of Type Design and Typography, The Alphabet and Elements of Lettering, and Fifteen Alphabets. Printed and photocopied. 6 items (15 pp.). F3 Articles or brief statements by Goudy. Titles include: "The Craftsman's Ideal." Printed. 1 item (4 pp.). "MCMXL." Printed. 1 item (3 pp.). "On the Design of Types." The Architectural Record. Photocopy. 1 item (5 pp.). "Quality in Printing." The Printing Art. Printed. 1 item (5 pp.). "Art in Type-Design." Monotype. Goudy number. November 1928. Printed. 1 item (14 pp.). "A Study in Type Design." Monotype. July-August 1922. Printed. 1 item (3 pp.). F4 An Exhibition of the Rural Arts... November 14-30 1937. A catalogue designed by Goudy for the U. S. Department of Agriculture. 1 item (77 pp.). Series II. Lectures or talks delivered by Frederic Goudy. Includes printed or mimeographed copies of certain lectures, as well as announcements, invitations, and programs for lectures. F5 The City of Crafts: A Phantasy being some account of a journey to the court of the Printers' Guild told by a member of the American Institute of Graphic Arts...February 15, 1922. New York: American Institute of Graphic Arts, 1922. Two variant editions. Paper edition is a presentation copy from Goudy to Frances R. Booth. Printed. 2 items (34 pp.). F6 Types of the Past: Type Revivals with a few words on Type Design in General. An address at the New York Press Association Dinner September 12, 1936. Syracuse: School of Journalism, Syracuse University, 1936. Two variant editions. Printed. 2 items (40 pp.). F7 Type Design for the Scholarly Book. An address for the Pasadena Library Club, October 30, 1940 in celebration of the five hundredth anniversary of printing. Also for the English Institute, Columbia. Issued by Dawson's Book Shop. Mimeographed Ts. 1 item (16 pp.). F8 Collection of announcements and invitations for various talks and lectures by Goudy. Includes lectures given in Honolulu, Atlanta, Worcester, Dayton, Vancouver, The Grolier Club, and others. Also an announcement for a printing course taught by Goudy at New York University. 15 items (45 pp.). Series III. Material Related to The Village Press owned and run by Bertha and Frederic Goudy. F9 A collection of material printed by The Village Press. Includes Christmas cards, the title page for Printing, and page proofs for Songs and Verses. Also included are two printed books: The Gypsy Trail by Rudyard Kipling. 1 item (9 pp.). Three Essays by Augustine Birrell. 1 item (25 pp.). Total of 6 items (57 pp.). F10 A collection of printed items about The Village Press. Includes a signed copy of a woodcut by Charles W. Smith of "The Village Press and Letter Foundry;" a copy of The American Institute of Graphic Arts catalogue, "The Village Press: A Retrospective Exhibition;" several keepsakes celebrating anniversaries of The Village Press (see also series VI), an article reporting that a Village Press collection is given to Vassar, and other items.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
    Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Goudy, Master of Letters, Chgo
    QGS8V THE UNIVERSITY OF ILLINOIS LIBRARY ILLINOIS HISTORICAL SUBVEF Digitized by the Internet Archive in 2012 with funding from University of Illinois Urbana-Champaign http://archive.org/details/goudymasterofletOOorto GOUDY MASTER OF LETTERS LIBRARY OF THE UNIVERSITY OF ILLINOIS Frederic W. Goudy, 1937 GOUDY MASTER OF LETTERS BY VREST ORTON 5% WITH AN INTRODUCTION BY FREDERIC W. GOUDY T THE BLACK CAT PRESS CHICAGO 1939 Copyright 1939 by the Blac\ Cat Press B G-68'8 TO LELIA AND GARDNER ORTON -3 fe k § i C2 CC s Contents Author's Preface 13 Introduction 19 Goudy: Master of Letters 25 Postlude: The Destruction of Deepdene 87 Illustrations Frederic W. Goudy, 1937 6 Goudy the Old Master 24 Goudy using Albion Press at Anderson Galleries 39 Type styles when Goudy began designing type 45 Typography at the time Goudy began his career 46 Advertising of the early 1900 era 63 A Goudy title page 64 Goudy at Deepdene, IQ32 73 Specimen of Goudy types, IQ21 74 Author's Preface Daniel Berkeley Updike, whose ability to make charming epigrams has enriched and enlightened our typographic lore, once said, ". any person of mod- erate intelligence can make the most of his advan- tages . the trick being to make the most of one's disadvantages.' ' No one in the history of American graphic arts has accomplished this trick with greater success than Frederic Goudy. Not even Goudy's best friends claim that he was born a genius. Certainly he has never lived or acted like one. His early years were destitute of the advan- tages so handy nowadays to students of printing.
    [Show full text]
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
    Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
    [Show full text]
  • Copyrighted Material
    COPYRIGHTED MATERIAL 006_542514_ch01.indd6_542514_ch01.indd 1414 66/2/10/2/10 99:27:27 AAMM CHAPTER ONE A BRIEF HISTORY OF TYPE he story of type doesn’t begin with type per se, rather it starts with the beginning of mankind and civilization. Type has only existed for about 560 years, but its beginnings are rooted in the life of the caveman himself, as it was his developing needs and habits that led civiliza- tion on a path toward the evolution of the alphabet and subsequently the invention of type and printing. It is certainly possible to learn to use type effectively and tastefully without knowing its roots; but to fully understand and appreciate type today, it is important to know something of the past. Milestones in the history of type are highlighted throughout this chap- ter. Some of the dates, chronology, and details vary from source to source, but the spirit of the events remains the same. These events have taken mankind on a glorious ride from the crudest cave drawings to the bits and bytes of type in the digital age. SOUNDS TO SYMBOLS For many years, early humans communicated purely with sound. Verbal language–which is heard and not seen as opposed to visual language (or visible language, as it is often called)–has many limitations: it is gone the instant it is spoken and heard, and it is therefore temporary. Stories, history, and other information could not be passed on from generation to generation in a permanent way, only by direct word of mouth. The earliest attempts to record stories and ideas were through cave drawings; the fi rst known is dated around 25,000 bc.
    [Show full text]
  • CATALOGUE 69 the VEATCHS ARTS of the BOOK Post Office Box 328, Northampton, Massachusetts 01061 [email protected] Phone 413-584-1867
    CATALOGUE 69 THE VEATCHS ARTS OF THE BOOK Post Office Box 328, Northampton, Massachusetts 01061 [email protected] www.veatchs.com phone 413-584-1867 CATALOGUE 69 Fine Printing & Binding Type Specimens Jugaku, Tesukiwashi Taikan Lalande, Art de Faire le Papier 1761 Item 11. Pawson & Nicolson Binding. Item 12. C.S.A.C. Binding. Fiedler, A Collection of Original Prints from the 15th to 20th Centuries Many of the books in this catalogue are not listed on our web site. ordering information Payment is accepted in U. S. dollar check drawn on a U. S. bank, Mastercard & Visa. Libraries may request deferred billing. Massachusetts residents must add 6¼% sales tax. Any purchase may be returned within ten days. Item 13. Claudia Cohen Binding. 1. Apiary Press. Ghelderode, Michel de. THE BLIND MEN. Translation 5. Barrett, Timothy. NAGASHIZUKI. The Japanese Craft of Hand Paper- by Samuel Draper. (Northampton), 1961. 8 × 11. (10 text pages and 6 making. North Hills: Bird & Bull Press, 1979. 7¾ × 11. 120 pages. Four- full page etchings (including a portrait of the author); smaller etch- teen small paper specimens. Morocco and decorated Japanese paper ing on colophon page; all with tissue guards. Quarter citron pigskin boards by Gray Parrot. Fine in custom cloth slipcase. One of 300 cop- and Curwen patterned paper boards. Spine ends and tips rubbed, ies printed on handmade paper. Illustrations by Richard Flavin. $400 else fine. One of 50 numbered copies signed by the artist printer Anna B. Held. Very impressive student work, printed on an Acorn hand press in 12 6. Bates, Wesley.
    [Show full text]