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NEWSLETTER 43 Antikvariat Morris · Badhusgatan 16 · 151 73 Södertälje · Sweden [email protected] |
NEWSLETTER 43 antikvariat morris · badhusgatan 16 · 151 73 södertälje · sweden [email protected] | http://www.antikvariatmorris.se/ [dwiggins & goudy] browning, robert: In a Balcony The Blue Sky Press, Chicago. 1902. 72 pages. 8vo. Cloth spine with paper label, title lettered gilt on front board, top edge trimmed others uncut. spine and boards worn. Some upper case letters on title page plus first initial hand coloured. Introduction by Laura Mc Adoo Triggs. Book designs by F. W. Goudy & W. A. Dwiggins. Printed in red & black by by A.G. Langworthy on Van Gelder paper in a limited edition. This is Nr. 166 of 400 copies. Initialazed by Langworthy. One of Dwiggins first book designs together with his teacher Goudy. “Will contributed endpapers and other decorations to In a Balcony , but the title page spread is pure Goudy.” Bruce Kennett p. 20 & 28–29. (Not in Agner, Ransom 19). SEK500 / €49 / £43 / $57 [dwiggins] wells, h. g.: The Time Machine. An invention Random House, New York. 1931. x, 86 pages. 8vo. Illustrated paper boards, black cloth spine stamped in gold. Corners with light wear, book plate inside front cover (Tage la Cour). Text printed in red and black. Set in Monotype Fournier and printed on Hamilton An - dorra paper. Stencil style colour illustrations. Typography, illustra - tions and binding by William Addison Dwiggins. (Agner 31.07, Bruce Kennett pp. 229–31). SEK500 / €49 / £43 / $57 [bodoni] guarini, giovan battista: Pastor Fido Impresso co’ Tipi Bodoniani, Crisopoli [Parma], 1793. (4, first 2 blank), (1)–345, (3 blank) pages. Tall 4to (31 x 22 cm). -
SOPHIE SCHNEIDEMAN RARE BOOKS Catalogue 21
SOPHIE SCHNEIDEMAN RARE BOOKS Catalogue 21 Sophie Schneideman RARE BOOKS CATALOGUE ILLUSTRATED & PRIVATE PRESS BOOKS, ARTISTS’ BOOKS, BOOKBINDINGS, ART We prefer to give customers on our mailing list the opportunity to buy books from catalogues before we put items up for sale on our website. Items in this catalogue will be posted onto www.ssrbooks.com a week or so after the catalogue has been sent out and in many cases there will be additional photographs to view there. If you are interested in buying or selling rare books, need a valuation or just honest advice please contact me at: SCHNEIDEMAN GALLERY Open by appointment days a week or by chance – usually Mon-Fri –. The gallery is open on Saturday – but if you want to view the books please let me know in advance. Portobello Road, London, w sa [email protected] www.ssrbooks.com WE ARE PROUD TO BE A MEMBER OF THE ABA, PBFA & ILAB AND ARE PLEASED TO FOLLOW THEIR CODES OF CONDUCT Prices are in sterling and payment to Sophie Schneideman Rare Books by bank transfer, cheque or credit card is due upon receipt. All books are sent on approval and can be returned within days by secure means if they have been wrongly or inadequately described. Postage is charged at cost. EU members,, please quote your vat/tva number when ordering. The goods shall legally remain the property of Sophie Schneideman Rare Books until the price has been discharged in full. Printed in Great Britain by Henry Ling Ltd, Dorchester Designed in Adobe Jenson by Geoff Green Book Design, Cambridge Adobe Jenson is based on the designs of Nicholas Jenson’s typeface, first cut in . -
Table of Contents
Table of Contents Preface .................................................................................................... xiii Part I: The Web Environment Chapter 1—Designing for a Variety of Browsers ...................... 3 Browsers ................................................................................................. 3 Design Strategies .................................................................................... 9 Writing Good HTML ............................................................................. 11 Knowing Your Audience ..................................................................... 12 Considering Your Site’s Purpose ......................................................... 13 Test! Test! Test! ..................................................................................... 13 Chapter 2—Designing for a Variety of Displays .................... 14 Dealing with Unknown Monitor Resolutions ..................................... 14 Fixed versus Flexible Web Page Design ............................................. 19 Accessibility .......................................................................................... 23 Alternative Displays .............................................................................. 26 Chapter 3—Web Design Principles for Print Designers ...................................................................... 28 Color on the Web ................................................................................. 28 Graphics on the Web .......................................................................... -
Más Allá De La Comic Sans. La Enseñanza De La Tipografía En La Era Digital
Edutec. Revista Electrónica de Tecnología Educativa Núm. 20/ Enero 2006 Más allá de la Comic Sans. La enseñanza de la tipografía en la era digital. Jesús del Olmo Barbero Universidad Carlos III de Madrid. [email protected] José Alonso Seco Universidad Carlos III de Madrid. jaseco@ hum.uc3m.es Resumen: El monopolio de Microsoft, el escaso número de fuentes que incorpora al sistema operativo Windows y la falta de una formación tipográfica básica se revelan como causas de la escasa o nula cultura tipográfica que ahora se percibe. La toma de conciencia de este fenómeno por parte de los profesores y la oferta de una formación ortográfica y tipográfica se conciben como fórmulas para recuperar el “lenguaje” tipográfico y conseguir que los textos se ajusten a una estética acorde con la cultura visual. Abstract: The monopoly of Microsoft, the small numbers of fonts that the Windows operative system incorpotates and the lack of the basic typographic training seem to be the reasons of the scarce or null typographic culture that we can see nowadays. The teachers’awareness of the phenomenon and the offer of orthographic and typographic training as taken as formulae to win back the typographic language ans so manage that the texts agree esthetically with the visual culture. Palabras claves: Tipografía, ortotipografía, Comic Sans, cultura visual, mensaje escrito. Key Words: Typography, orthotypography, Comic Sans, visual culture, written message. 1. INTRODUCCIÓN. Una presentación desaliñada de los textos, que tiene su origen en el desconocimiento de las más elementales normas de edición, inunda los impresos que manejamos cotidianamente. A los abundantes correos electrónicos que utilizan tipografías coloreadas de dudoso gusto y legibilidad, se suman los bonitos diseños que de forma abrumadora aparecen dominados por el tipo Comic Sans. -
System Profile
Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: -
Elementi Di Tipografia Digitale Obiettivo Della Lezione Rappresentazione
Obiettivo della lezione • La codifica digitale del testo – Rappresentazione dei caratteri – Codifiche aggiuntive • Le fonti digitali • Attributi delle fonti • Tecnologie per fonti digitali Elementi di tipografia digitale Rappresentazione del Alcune lingue del mondo testo mediante caratteri • Il testo è una rappresentazione visuale del linguaggio parlato • Ma è anche un oggetto grafico • Il testo si produceva a mano (amanuensi) • Verso il 1450 Johann Gutenberg introdusse la stampa a caratteri mobili, rivoluzionando la produzione di testi Bibbia Mazarina 1 I metodi di scrittura nel mondo Osservazioni sui metodi di scrittura • Lineabase • Contesto • Riordinamento • Direzione Caratteri mobili Digital divide tra le lingue • Misurati in “punti” (1/72 inch) • Nei libri il testo è di solito a 8-12 punti • La dimensione in punti definisce di solito la minima spaziatura verticale della riga di stampa • Fonte. Yoshiki Mikami, Digital Divide among Languages, Bulletin of Language Science and Humanities, Nagaoka University of Technology, No.14, 2000, pp.83-94 2 Insiemi di caratteri nei computer Insiemi di caratteri • I sistemi informatici vengono impiegati per • L’insieme di caratteri oggi più diffuso è produrre testo lo standard 7-bit ASCII • Esistono codici che rappresentano i caratteri • ASCII è limitato a 128 caratteri; viene mediante numeri binari esteso con un bit per superare questo • La relazione (o codice) tra caratteri e numeri limite, ma l’estensione non è standard binari si chiama insieme di caratteri • Nuovi standard: • La IBM definì il -
The Bookcollection of C.F. Hultenheim, Camera Antiqua, in Selection from Ca 4000 Volumes
THE BOOKCOLLECTION OF C.F. HULTENHEIM, CAMERA ANTIQUA, IN SELECTION FROM CA 4000 VOLUMES Books and prints numbered 1 to 113 was exhibited on The Royal Library´s ”Typographia” sept 10,2000-jan 10,2003. An Exhibition of 20 th Century Typography and Graphic Design Compiled and Edited by C.F. Hultenheim. Litterature: “Typographica, 1900-2000”, Exhibition Catalogue No. 138 The Royal Library Stockholm 2002 1 DANIEL BERKERLY UPDIKE (1860-1941). Printing types, their history, forms and use. A study in survivals. I-II. Full cloth binding. Harvard and Oxford. Printed by the Merrymount Press, Boston 1922. (2). 2 DANIEL BERKERLY UPDIKE (1860-1941). Advertising card for a Boston tea merchant, “The Cup of Human Enjoyment”. Elihu White Foundry New York. In a frame, 15 x 8,5 cm. 4 BRUCE ROGERS ( 1870-1957). Bookplate ”Anne Lyon Haight”. In a frame, 5,5 x 5 cm. 11 JOHN S. FASS (1890-1973). The Hammer Creek Press type specimen book. Number 22 of 100 copies. Paper binding. New York 1954. 12 SAMUEL A. JACOBS (1891-1971). Christmas Tree, E.E. Cummings. Half cloth binding. Published and printed by S.A. Jacobs, New York 1928. 17 RAY NASH (1905-1982). PaGA, Printing & Graphic Arts, 1953-1965. The Stinehour Press, Luneburg. Unbound in box. 22 LEO LIONNI (1910-1999). World Geo-Graphic Atlas. Full cloth binding. CCA, Chicago 1953. 34 THE STINEHOUR PRESS. Goodspeed´s Book Shop, Catalogue 500. Paper binding. Boston 1961. 58 FRANCIS MEYNELL (1891-1975). Ten poems, Alice Meynell 1913-1915. One of 50 copies. Full vellum binding. The Romney Street Press 1915. -
Center 29 National Gallery of Art Center for Advanced Study in the Visual Arts Center 29
Center 29 National Gallery of Art Center for Advanced Study in the Visual Arts Center 29 National Gallery of Art center for advanced study in the visual arts Center 29 Record of Activities and Research Reports June 2008 – May 2009 Washington, 2009 National Gallery of Art center for advanced study in the visual arts Washington, dc Mailing address: 2000B South Club Drive, Landover, Maryland 20785 Telephone: (202) 842-6480 Fax: (202) 842-6733 E-mail: [email protected] Web site: www.nga.gov/resources/casva.shtm Copyright © 2009 Board of Trustees, National Gallery of Art, Washington. All rights reserved. This book may not be reproduced, in whole or in part (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law, and except by reviewers from the public press), without written permission from the publishers. Produced by the Center for Advanced Study in the Visual Arts and the Publishing Office, National Gallery of Art, Washington issn 1557-198X (print) issn 1557-1998 (online) Editor in Chief, Judy Metro Deputy Publisher and Production Manager, Chris Vogel Managing Editor, Cynthia Ware Design Manager, Wendy Schleicher casva Project Manager for Center Reports, Karen Binswanger Assistant Production Manager, John Long Editorial Assistant, Magda Nakassis Designed by Patricia Inglis, typeset in Monotype Sabon and Ellington display by Duke & Company, Devon, Pennsylvania, and printed on McCoy Silk by the Whitmore Group, Baltimore, Maryland. Cover: Design study for the East Building (detail), I. M. Pei & Partners, National Gallery of Art East Building Design Team, c. 1968. National Gallery of Art, Washington, Gallery Archives Half-title page: I. -
Coffeecup Software Web Typography Handbook
CoffeeCup Software Web Typography Handbook Prepare to make ugly Website text a thing of the past with these simple, step-by-step directions on how to spice up your Web typography with the help of CoffeeCup sIFR Font Maker, Website Font, and Direct FTP. As an added bonus, we’ve included several helpful Web Page Design For Designers (http://www.wpdfd.com) articles covering everything from choosing Web-safe typefaces to using CSS to improve text readability to utilizing minifonts. 165 Courtland St. Suite A, Box 312 Atlanta, GA 30303 (678) 495-3480 • www.coffeecup.com Table of Contents How To… ........................................................................................ 4 Introduction.............................................................................................4 Convert Fonts For sIFR ..............................................................................4 Modify sIFR Formatted Fonts ......................................................................6 Add sIFR to Your Website......................................................................... 11 Become a Web Typography Expert............................................................... 15 Typography and Renaissance-Era Eroticism ............................................. 16 Introduction........................................................................................... 16 Typeface vs. Font .................................................................................... 17 Types of Type........................................................................................ -
Typography in Advertising
Doctoral Thesis Typography in Advertising Typografie v reklamě Author: Aleksandar Donev, MSc Degree programme: Visual Arts (P8206) Degree course: Multimedia and Design (8206V102) Supervisor: Doc. PhDr. Zdeno Kolesár, Ph.D. Zlín, December 2015 © Aleksandar Donev Published by Tomas Bata University in Zlín in the Edition Doctoral Thesis. The publication was issued in the year 2015 Key words in English: Typography, Advertising, Visual Communication, Design, Typefaces, Fonts Key words in Czech: Typografie, Reklama, Vizuální Komunikace, Design, Písma, Fonty Full text of the Doctoral Thesis is available in the Library of TBU in Zlín ISBN 978-80-……… ABSTRACT This thesis is set to investigate the use of type and typography in advertising, the role of typography in rendering the advertising message and the effects it has on the same. Typography and advertising both have been researched significantly all over the world but mainly as a two separate disciplines without showing the importance of their connection. The aim of my thesis is to fill that gap and show the significance of typography in advertising and their relationship in the communication process. The approach undertaken in this thesis is mainly theoretical, including statistics, a survey, a case study and an analysis of literature from various sources in the field of the research. I have analysed the factors that make typography suitable and effective for advertising purposes. With this research I am able to confirm that the use of typography and type for advertising purposes is slightly different than its use for other purposes. I am hoping that my work will make designers and advertisers more aware of the importance of typography in the creation of advertisements and that they will make better use of it. -
Publications of the Metropolitan Museum Of
PUBLICATIONS OF THE METROPOLITAN MUSEUM OF ART • 1870-1964 A Bibliography compiled by Albert TenEyck Gardner Associate Curator of American Paintings and Sculpture 1965 3/i^Ar »(^/w^A^*» /)& '(%«st, PREFACE In the second century A.D. the prolific writer Galen compiled a classified bibliography of his works — necessary, in his view, to set the record of history straight. He first listed all the books falsely attributed to him and then, in seventeen succeeding chapters, listed and annotated the five hundred or so titles that had come from his hand. The account might be termed a "bio-bibliography," as it con stitutes a record of the author's productivity. This term is also appropriate to Albert TenEyck Gardner's bibliography of the publica tions of-The Metropolitan Museum of Art, the first complete listing of all known books, pamphlets, and serials bearing our imprint; for it is a record of the institution's achievements over the past nine decades and mirrors its varied and numerous activities. The scholarly publications testify to the contributions made to knowledge by the Museum's staff; the catalogues and guides indicate the broad scope of its acquisitions; the exhibition catalogues commemorate the many important loan exhibi tions that have complemented and augmented its collections. In brief, this bio-bibliography is a valuable index of the myriad ways in which the Museum presents its vast collections of art to an ever-growing public. It is also a testimony of the contributions of many individuals to the Museum's publishing program. As Mr. Gardner notes, a decisive influence over this program was wielded by Henry Watson Kent, Secre tary of the Museum for twenty-seven years, who established a tradition of fine design and printing for Museum publications that has survived ever since. -
A Tally of Types: with Additions by Several Hands Edited by Brooke Crutchley Frontmatter More Information
Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information a tally of types © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information stanley morison A with additions by several hands edited by brooke crutchley With a New Introduction by Mike Parker © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521097864 © Cambridge University Press 1973 Introduction © Mike Parker 1999 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. Mike Parker’s Introduction is published by arrangement with David R.