Typesetting Techniques
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Styro-Prints Printmaking
LESSON 18 LEVEL B STYRO-PRINTS PRINTMAKING WHAT YOU WILL LEARN: learning the basic techniques of relief printmaking WHAT YOU WILL NEED: sheets of styrofoam about 13x15.5 cm.(5”x 6”) (clean flat sided styrofoam meat trays with the sides cut off) or commercial styrofoam such as Scratch-Foam Board (TM); ballpoint pen or dull pencil; black or colored water-based printing ink; one or two rubber brayers for ink, available at crafts or art supply stores; a small sheet of formica or a smooth plastic mat for an ink pad; a variety of kinds and colors of papers; damp sponge or towel; newspapers to cover work surface. Relief Print Teacher Example “TIPS”: Set up your work table as indicated in the diagram. You will Getting Started: Relief printing draw on your styrofoam “plate” some began thousands of years ago in where else and then move to the China. Much later, in Europe, wood printing place. If you have never blocks were smoothed and then cut printed before, you may want a into with sharp tools. They were then inked to make prints that grownup to help you the first time. were handed out like posters and It will be fun for both of you! handbills or flyers. In the 1500s, Important: read through all the John Gutenberg put rows of little directions before you begin to print. wooden block letters into a printing press, and the first modern books were made. In relief printing. “the ups print and the downs don’t.” That means that the surface that is inked will print and the part of the block Lesson18 A ©Silicon Valley Art Museum that is cut away or pushed down, will not. -
Kemble Z3 Ephemera Collection
http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research. -
Introduction to Printing Technologies
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography. -
Graphics Design
Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can -
Printing Presses in the Graphic Arts Collection
Printing Presses in the Graphic Arts Collection THE NATIONAL MUSEUM OF AMERICAN HISTORY 1996 This page blank Printing Presses in the Graphic Arts Collection PRINTING, EMBOSSING, STAMPING AND DUPLICATING DEVICES Elizabeth M. Harris THE NATIONAL MUSEUM OF AMERICAN HISTORY, SMITHSONIAN INSTITUTION WASHINGTON D.C. 1996 Copies of this catalog may be obtained from the Graphic Arts Office, NMAH 5703, Smithsonian Institution, Washington D.C. 20560 Contents Type presses wooden hand presses 7 iron hand presses 18 platen jobbers 29 card and tabletop presses 37 galley proof and hand cylinder presses 47 printing machines 50 Lithographic presses 55 Copperplate presses 61 Braille printers 64 Copying devices, stamps 68 Index 75 This page blank Introduction This catalog covers printing apparatus from presses to rubber stamps, as well as some documentary material relating to presses, in the Graphic Arts Collection of the National Museum of American History. Not listed here are presses outside the accessioned collections, such as two Vandercook proof presses (a Model 4T and a Universal III) that are now earning an honest living in the office printing shop. At some future time, no doubt, they too will be retired into the collections. The Division of Graphic Arts was established in 1886 as a special kind of print collection with the purpose of representing “art as an industry.” For many years collecting was centered around prints, together with the plates and tools that made them. Not until the middle of the twentieth century did the Division begin to collect printing presses systematically. Even more recently, the scope of collecting has been broadened to include printing type and type-making apparatus. -
Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous
Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous To cite this version: Yannis Haralambous. Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials. Tugboat, TeX Users Group, 1991, Proceedings of TeX90, 12 (1), pp.129-138. hal-02099292 HAL Id: hal-02099292 https://hal.archives-ouvertes.fr/hal-02099292 Submitted on 23 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous U. F. R. de MathCmatiques, UniversitC de Lille - Flandres - Artois, 59655 Villeneuve d'Ascq, France. Abstract Typesetting in the old style, with the corresponding types, besides being an art, is also a real pleasure. METAFONT allows the creation of faithful copies of these types and T&K gives the possibility of using them in the most traditional manner. In this spirit, the necessary fonts and macros to typeset in the Old German types: Gotisch (also called Textur), Schwabacher and F'raktur are presented in this paper, together with an historical introduction to each of them. Also, a set of initials is described. Rules for typesetting in these types are given, together with extracts from the original sources. -
236 Tugboat, Volume 9 (1988), No. 3 Some Typesetting Conventions
236 TUGboat, Volume 9 (1988), No. 3 Some Typesetting Conventions suitability to contents Graeme McKinstry, Not all these factors are equal in their effect on readability University of Otago, nor are all the factors within your control but it is possible New Zealand. to use some of the above factors to make your documents more readable. One of the major advantages of T@ is that it makes it possible for authors to typeset their own work. However, Typeface and size of type this new found power has not been automatically asso- There are two broad classes of fonts: serif ("serifs" are ciated with a knowledge of typesetting and typographic the finishing strokes at the end of letters) and sans-serif design and so some very unreadable documents have en- (without serifs, e.g., fonts such as Helvetica). Of the sued. This is further exacerbated by authors believing two, serif fonts (such as Computer Modem, and Times- they do know something about typesetting ("Doesn't ev- Roman) are easier to read for large quantities of text, eryone?") and ignoring all attempts to lead them in the "because it has been shown that we read our own lan- right direction, e.g., LV@. guage not letter by letter but by recognizing the shapes Although TEX users are less prone to fall into this of words . " [31. The serifs tend to help in this "shape trap as compared to your average WYSIWYG user there are recognition". For example try to decipher the following still some fundamental typographic lessons to be learned. two lines (they don't form words): These principles are so fundamental that even a com- puting consultant, such as myself, is able to learn, and possibly even more importantly, understand why we have them. -
I, Adams. Power Printing Press
3 Sheets-Sheet l. I, ADAMS. POWER PRINTING PRESS, 3 E G e 3. E res e 3 Sheets Sheet 2. I. ADAMS. POWER PRINTING PRESS, Reissued Apr. 20, 1858. 3 Sheets Sheet 3. I, ADAMS. POWER PRINTING PRESS, Reissued Apr, 20, 1858 6 72X UNITED STATES PATENT OFFICE. ISAAC ADAMS, OF BOSTON, MASSACHUSETTS. IMPROVEMENT IN THE PRINTING-MACHINE CALLED A POWER PRNTING-PRESS, Specification forming part of Letters Patent dated October 4, 1830; extended seven years; again extended by ac of Congress from August 16, 1856, to March 2, 1864; Reissue No. 546, dated April 20, 1858, To all whom it may concern. : Be it, known that I, ISAAC ADAMs, of Bos In this figure the notive-power is shown as ton, in the county of Suffolk and State of applied to a horizontal shaft, the main wheel Massachusetts, have invented a new and use. upon the vertical shaft being a level gear (see ful and Improved Printing-Machine, which I also Fig. 20) and put on the shaft just above term a “Power Printing-Press;' and I do the crank, and being driven by a pinion (see hereby declare that thc same is described and Fig. 28) upon the horizontal driving-shaft car. represented in the following specification and rying the fly-wheel B, Fig. 3. Such driving the accompanying drawings, making a part shaft may be turned by any sufficient steady of this specification, in which mechanical power; or it may be moved by Figure 1 denotes a side elevation of such manual power by the use of a winch or land. -
Mechanization of the Printing Press Robin Roemer Western Oregon University, [email protected]
Western Oregon University Digital Commons@WOU History of the Book: Disrupting Society from Student Scholarship Tablet to Tablet 6-2015 Chapter 08 - Mechanization of the Printing Press Robin Roemer Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/history_of_book Part of the Critical and Cultural Studies Commons, Cultural History Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Roemer, Robin. "Mechanization of the Printing Press." Disrupting Society from Tablet to Tablet. 2015. CC BY-NC. This is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in History of the Book: Disrupting Society from Tablet to Tablet by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. 8 Mechanization of the Printing Press - Robin Roemer - One of the important leaps in the technology of copying text was the mechanization of printing. The speed and efficiency of printing was greatly improved through mechanization. This took several forms including: replacing wooden parts with metal ones, cylindrical printing, and stereotyping. The innovations of printing during the 19th century affected the way images were reproduced for illustrations as well as for type. These innovations were so influential on society because they greatly increased the ability to produce large quantities of work quickly. This was very significant for printers of newspapers, who were limited by the amount their press could produce in a short amount of time. Iron Printing Press One major step in improving the printing press was changing the parts from wood to metal. -
MTP-1530II Modular Thermal Printer User Manual
MTP-1530II Modular Thermal Printer User Manual Telpar 800-872-4886 Fax: 603-742-9938 Website: www.telpar.com E-mail: [email protected] © 2012 Telpar (Rev.20120510) Telpar MTP-1530II Receipt Thermal Printer User Manual Warranty Telpar — Printer Limited Warranty .WARRANTIES AND DISCLAIMERS. Products manufactured by Telpar are warranted against defects in workmanship and materials for a period of twelve (12) months from the date of shipment to the original user, provided the Product (a) remains unmodified, (b) is used only in the United States or Canada, (c) is operated under normal and proper conditions, as Telpar determines in its sole discretion, and (d) Customer provides prompt written notice Telpar of any defects as to parts and/or workmanship to. Telpar may provide an extended warranty on certain Products or components thereof for an additional price determined solely by Telpar and such extended warranty shall only be effective to the extent memorialized in writing by Telpar. Telpar’s sole obligation and Customer’s exclusive remedy for defective Telpar-manufactured Products is limited to repair or replacement, as Telpar determines in its sole discretion. The warranty described above does not include any labor or service costs for removing or replacing parts, or any shipping charges. Any repair performed by Telpar under this warranty does not extend the original warranty period of any Product. This warranty shall not apply to any Product which has: (i) been repaired or altered, except by Telpar; (ii) not been maintained in accordance with all of the operating or handling instructions supplied by Telpar, or (iii) been subjected to misuse, willful acts, abuse, tampering, negligence or accident, unusual physical or electrical stress, as Telpar determines in its sole discretion. -
Development of Computer Typesetting
Early steps in computer typesetting in the 1960s Jonathan Seybold, September 2018 1961–1964 Michael Barnett’s “Experiments in Typesetting” In 1961, Michael Barnett, an associate professor at MIT wrote a computer program that could produce punched paper tape output to drive a phototypesetting machine. He used this to produce the “Tail” from Alice in Wonderland, and a phototypeset press release. These were the first documents that were phototypeset from output generated by a computer. In 1962 Barnett received a research grant to continue this experiments. This lead to development of the PC6 system, which was used to produce a variety of reports, pamphlets and other publications in late 1963 and early 1964.1 Hardware: IBM 709/90 computer and a Photon 560 phototypesetter. Software: Written in Fortran, with a few routines written in FAP (Fortran Assembler). Written for a specific Photon 560 set-up. Typefonts were identified by disk position and row number. The TYPRINT program for text output composed text to fit a predefined page width and depth. Lines were broken after the last complete word that would fit on that line. There was no attempt at hyphenation. Pages were arbitrarily broken after the last line that would fit on the page. Special commands could be embedded in the text to tie text elements together. When it encountered these, the program would simply make the page as long as necessary to accommodate all of the text in the “no break” area. Given the scientific academic setting, the most notable feature of TYPRINT was a program written by J.M. -
Wlatioia AUG 12195 7 a STUDY of the TYPOGRAPHIC
,.., WLAtiOIA Ali!Ctll. VUIAL &. MECHANICAL ctll.1111 LIBRARY AUG 12195 7 A STUDY OF THE TYPOGRAPHIC AND PRODUCTION DEVELOPMENTS .IN THE. GRAPHIC ARTS AS THEY ARE.APPLICABLE TO STUDENTS IN A BEGINNING COURSE FOR A MAGAZINE AND.NEWSPAPER CURRICULUM By JOHN BEECHER THOMAS Bachelor of Science University of Missouri Columbia, Missouri 1955 Submitted to the faculty of the Graduate School of the Oklahoma Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE May 9 1957 383191 A STUDY OF THE TYPOGRAPHIC AND PRODUCTION DEVELOPMENTS IN THE GRAPHIC ARTS AS THEY ARE APPLICABLE TO STUDENTS IN A BEGINNING COURSE FOR A MAGAZINE AND NEWSPAPER CURRICULUM Thesis Approvedg ~e~Ae.r L ' Dean of the Graduate School TABLE OF CONTENTS Chapter Page Io HISTORY OF PRINTING l Words and the Alphabet 0 0 l Paper • • • O O 0 4 Type 7 Press 10 IIo PRINTER'S SYSTEM OF MEASUREMENT 14 Point. o· 14 Agate • o. 15 Ems and Ens 15 IIIc. PRINTING TYPES • 17 Anatomy of Foundry Type • 0 17 Classification 0 17 Type Fonts 0 0 0 24 Series 0 0 24 Family 0 24 IVo COMPOSING AND TYPE MACHINES 0 0 26 Linotype and Intertype Machines 0 26 Mono type • • 27 Ludlow and All=Purpose Linotype • 28 Fotosetter • 0 28 Photon 29 Linof'ilm 0 0 30 Filmotype • 0 30 Typewriters • 31 Ar type Go O O 0 32 Vo REPRODUCTION OF ILLUSTRATIONS 33 Techniques 0 34 Color Separation 0 .. 35 Methods of' Producing Plates 0 0 0 36 Duplicate Pr~nting Plates 37 VI.