APHA Newsletter No. 165 (Winter 2008)
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The Evolution of the Printed Bengali Character
The Evolution of the Printed Bengali Character from 1778 to 1978 by Fiona Georgina Elisabeth Ross School of Oriental and African Studies University of London Thesis presented for the degree of Doctor of Philosophy 1988 ProQuest Number: 10731406 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10731406 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 20618054 2 The Evolution of the Printed Bengali Character from 1778 to 1978 Abstract The thesis traces the evolution of the printed image of the Bengali script from its inception in movable metal type to its current status in digital photocomposition. It is concerned with identifying the factors that influenced the shaping of the Bengali character by examining the most significant Bengali type designs in their historical context, and by analyzing the composing techniques employed during the past two centuries for printing the script. Introduction: The thesis is divided into three parts according to the different methods of type manufacture and composition: 1. The Development of Movable Metal Types for the Bengali Script Particular emphasis is placed on the early founts which lay the foundations of Bengali typography. -
Typeform Dialogues (2Nd Edn) 2018
Eminents observed: a century of writing, lettering, type and typography at the Central School, London Book or Report Section Published Version Kindel, E. (2018) Eminents observed: a century of writing, lettering, type and typography at the Central School, London. In: Kindel, E. (ed.) Typeform Dialogues (2nd edition). Hyphen Press, London, pp. 50-87. ISBN 9780907259527 Available at http://centaur.reading.ac.uk/66607/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://hyphenpress.co.uk/products/books/978-0-907259-52-7 Publisher: Hyphen Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Typeform dialogues An interactive interface presenting a comparative survey of typeform history & description Explained and illustrated through its User’s Manual and in essays by Catherine Dixon & Eric Kindel Edited by Eric Kindel Hyphen Press . London Foreword 3 User’s Manual Eric Kindel 5 Appendices 37 Types in the interface Catherine Dixon Typeform dialogues Catherine Dixon & Eric Kindel Project bibliography Eminents observed Eric Kindel 50 A century of writing, lettering, type and typography at the Central School, London Systematizing the platypus Catherine Dixon 88 A perspective on type design classification Typeform dialogues First edition, 2012; revised 2013 Second edition, 2018 Copyright © 2012, 2013, 2018, the authors ISBN 978-0-907259-52-7 Made in collaboration with Hyphen Press, London. -
Searching for Morris Fuller Benton
Searching for Morris Fuller Benton Discovering the designer through his typefaces Juliet Shen Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Typeface Design Department of Typography and Graphic Communication University of Reading September, 2006 © 2006 Juliet Shen. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical without written permission from the author. ABSTRACT Searching for Morris Fuller Benton Discovering the designer through his typefaces Juliet Shen Morris Fuller Benton (1872–1948) was the chief type designer for the American Type Foundry Company, where he worked from 1896–1937. He designed more typefaces than any other American type designer: well over 200. Yet historians have largely overlooked him in their publications and he did not write about himself. This dissertation seeks to discover how Benton thought as a designer by studying his typefaces. The economic trends that influenced his career are summarized, and his typefaces are re- catalogued thematically. Detailed case studies are made of Franklin Gothic, Clearface and Clearface Gothic, Cloister Oldstyle, Century School- book, and two novelty typefaces, Adscript and Thermo Series. The com- mon assumption that Franklin Gothic was based on Akzidenz Grotesk is refuted. His approach in reviving Nicolas Jenson’s fifteenth century roman is contrasted with that of Bruce Rogers, and the resulting typefaces compared. It is shown that Benton was greatly concerned with furthering legibility in typefaces; that he designed the first serial (serif and sans serif) type family; and that he made some typographic design innovations that went largely unnoticed. -
Father Truchet, the Typographic Point, the Romain Du
8 TUGboat, Volume 20 (1999), No. 1 Father Truchet, the typographic point, the Romain du roi, and tilings Jacques Andr´e and Denis Girou Abstract Father S´ebastien Truchet (1657-1729) is genuinely recognized as a mathematician (especially for “Tru- chet tilings”); however, very few typographers know that he is the real inventor of the typographic point or even that he designed the famous Romain du roi, which could be considered the first digital font! Introduction This paper is adapted from a page on the Web1 that was created last October for the ATypI con- ference held in Lyons, France. For us, this was a good opportunity to restore Father S´ebastien Tru- chet’s good name. He was born in Lyons in 1657. Even if he is genuinely recognized as a mathemati- cian (especially for “Truchet tilings”), as an expert in hydraulics (he designed most of the French canals) and as an inventor (he invented a fantastic number of things such as sundials, guns, engines to trans- plant adult trees — they have been used in the Parc de Versailles, etc.) [8, 12], very few typographers know that he is the genius behind the typographic point or even that he designed the famous Romain du roi font. Figure 1:FatherS´ebastien Truchet, 1657–1729; Here are three stories about him. after Lery [12]. S´ebastien Truchet and the typographic point In typography at the end of the 17th century, body Canon”), since there was an implicit scale between sizes were not measured but were given names in- these sizes (a “little Canon”, for example, was twice stead (just as today’s bold typefaces are referred to as large as a “Saint Augustin”). -
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. -
Pierre Haultin’S Early Career: Roots, Training, Beginnings (1546–1550) Rémi Jimenes
Reconsidering Pierre Haultin’s Early Career: Roots, Training, Beginnings (1546–1550) Rémi Jimenes To cite this version: Rémi Jimenes. Reconsidering Pierre Haultin’s Early Career: Roots, Training, Beginnings (1546– 1550). Library, Oxford University Press (OUP), 2017, 18 (1), pp.62 - 80. 10.1093/library/18.1.62. halshs-01494311 HAL Id: halshs-01494311 https://halshs.archives-ouvertes.fr/halshs-01494311 Submitted on 15 Jun 2021 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. Reference :Rémi Jimenes « Reconsidering Pierre Haultin's Early Career: Roots, Training, Beginnings (1546–1550) », The Library, 2017, vol. 18 (1), p. 62-80. Rémi Jimenes Reconsidering Pierre Haultin’s early career : roots, training, beginnings (1546-1550) Nota : in this draft, figures are not reproduced at their original scale Pierre Haultin is famous for being the most active publisher of the French Reformation.1 As a protestant, his religious beliefs influenced his life, leading him to move from town to town: working in Paris in the 1540s, he left for Geneva in 1550, resided in Lyon in 1558, moved back to Paris from 1565 to 1570, and finally settled in La Rochelle where he continued working until his death in 1587 or 1588. -
Introduction
Introduction LETTERPRESS PRINTING in the very early days of printing. Then, the punchcutter was This book is not really about the history of printing. Some the designer, often forming the unique characteristics of aspects of that mechanical process must inevitably be con- the letters in the process of his engraving. And very early sidered; but the primary purpose of Historical Types is to in printing history, punchcutting, and even typefounding, show, as clearly as possible, what the classic ‘landmark’ became independent occupations. typefaces actually looked like, and to facilitate an awareness In one sense, Historical Types could well be described as of how the design of printing types changed over time. a celebration of the skill and art of the punchcutter. That explains why Johann Fleischman is smiling at us from the Making type Frontispiece, and why the punch of Baskerville’s marvellous One important thing to remember is that every single his- letter Q forms our tailpiece! torical page shown in this book, from Gutenberg to Ashen- THE FORMAT OF THIS BOOK dene, was printed from individual pieces of metal type. The making of metal type relied a great deal on handcraft skills Historical Types began life as part of my ‘Introduction to and required a lot of technical precision. Typography’ course for graphic designers. When exposed First, a punch is engraved with the form of the letter in to a proper historical perspective, students not only become relief at actual size, but reversed left to right (see Fig. 1). aware of the origins of modern font designs, but are also (Check the actual size of the type illustrated in B5, and able to grasp the subtle differences between one typeface and note that this is by no means the smallest type ever cut.) another. -
I Type Specimens *
i type specimens * 1. ATF. Book of American Types. American Type Founders Company. Jersey City, 1934. Red cloth over boards. Printed black on front cover and spine. Very minor wear at top and bottom of spine, otherwise fine. $100 2. ATF. Book of American Types. American Type Founders Company. Elizabeth, 1941. Supplementary material that fits in front pocket not present. Spine worn and bumped at top and bottom. $20 3. A collection of ATF booklets. $75 for all. a. The Civilite Series. A Condensed Showing of the Eight Sizes Available and the Nintey-six Interesting Characters in a Complete Font Especially Recommended for Quaint and Odd Typography. American Type Founders Company. Jersey City, n.d. b. The Garamond Series. An interesting showing of the most beautiful and effective type design yet produced. American Type Founders Company. 1925. c. Typographic Accessories: Specimen Catalog and Price List. American Typefounders Company. Elizabeth, N.J., n.d. Stapled 24-page red and black catalogue in printed card stock wrapper. Stapled binding has been taped for strength. Very clean throughout. Second copy stamped on front cover as part of Omaha Public School Trade and Industrial Education. Two light pencil markings inside. Cover a bit soiled. d. Print AmericanTypographic Accessories: Specimen Catalog, Ornaments, Handy Packs, Auxiliary Fonts, Monogram, Initials, Etc.. American Typefounders Company. Elizabeth, N.J., n.d. Stapled 32-page catalogue printed in red and black. Printed card stock wrapper. Multiple holes punched at binding edge. Covers and interior clean and bright. e. Handy Type Index. American Typefounders Company. Elizabeth, N.J., n.d. Stapled 16-page catalogue in printed card stock wrapper. -
Gill Sans Serif
1 Gill Sans Stephen Skelton Arthur Eric Rowton Gill (1882 – 1940) was a supremely talented – yet controversial – artist. His achievements, the Stations of the Cross in Westminster Cathedral, the statue of Prospero and Ariel over the front door to Broadcasting House and his typeface, Gill Sans, to name but three of his most enduring, are there for all to see. But his failings as a human being are also well known. His unconventional views on religion, the wearing of trousers (he preferred a loose, belted smock), underwear (he typically wore none) and man’s ‘most treasured possession’ (there are 130 exquisite drawings of his own genitalia in the British Museum) set him firmly apart from the crowd. To these though, must be added the incest he committed with his own daughters and at least one of his sisters (my grandmother Angela) – and his ‘experiments’ with his dog (today we would call it nothing more than bestiality) – all of which he recorded in his diaries and which he knew would eventually see the light of day. Whether Gill should be admired for his talents or ostracised for his failings, there is no doubt that his sans serif typeface remains his most widely seen achievement. (This essay, except where examples of other typefaces are used, is set in Joanna, a typeface Gill designed in 1930-31.) In October 1926 Gill took his family to live in Wales in a small hamlet called Capel-y-ffin, near Abergavenny, and was invited by a friend, Douglas Cleverdon, to paint a fascia board for the bookshop Cleverdon was opening in Bristol. -
Typeface Legibility: Towards Defining Familiarity
Typeface Legibility: Towards defining familiarity Sofie Beier A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy May 2009 The Royal College of Art [ 2 ] typeface legibility: towards defining familiarity © This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. sofie beier 2009, royal college of art [ 3 ] Abstract The aim of the project is to investigate the influence of fa- miliarity on reading. Three new fonts were created in order to examine the familiarity of fonts that readers could not have seen before. Each of the new fonts contains lowercase letters with fa- miliar and unfamiliar skeleton variations. The different skeleton variations were tested with distance threshold and time thresh- old methods in order to account for differences in visibility. This investigation helped create final typeface designs where the fa- miliar and unfamiliar skeleton variations have roughly similar and good performance. The typefaces were later applied as the test material in the familiarity investigation. Some typographers have proposed that familiarity means the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is the commonalities in letterforms. These two hypotheses were tested by measuring the reading speed and preference of partici- pants, as they read fonts that had either common or uncommon letterforms, the fonts were then re-measured after an exposure period. -
Mémoire Dissertation
ying tong tan ☠ esadtype 2017-19 Dedicated to Frederik Berlaen Emmanuel Besse Patrick Doan Florian Fecher Frank Griesshammer Cédric Houssen Jean-Baptiste Levée Sébastien Morlighem Mathieu Réguer Ilya Ruderman Pierre-Henri Terrade ☠ESADTYPE’2~17-19 I started the post-diplome course with the aim of learning type design in terms of technical drawing skills and more important- ly, to understand how a typeface family is designed and built upon in relation to each of its styles. There was an initial intention to view my graphic and type design practice as very separate entities as I was looking for a new way and approach in working. This did not go as planned as the basis of my typeface system was eventually borned out of my subjective preferences and questions as a graphic designer. Instead, I learned how to plan and design a family based on actual problems I have faced as a type user and began to understand what my role as a type designer could be; what I could bring to the table that was different; or a need that has not yet been addressed. This is a project where I seek to challenge myself both technically and conceptually, and also one that I view as an open-ended exploration on the notion of a ‘family’. It is a continuous search for cohesiveness amongst diversity: a proposal for a type system; an exploration in craft; an experi- mentation of sorts. Graye (Gray + Grave) is a concise typeface family crafted based on a graphic designer’s want for a concise yet eclectic set of styles that aims towards a cohesive gray value across printed matter. -
Afounder's Zlondon
A ZFOUNDER'S LONDON Founder's A showing and synopsis of ITC Founder's Caslon A-Z London the friends of the st bride printing library, 1998 The European Friends of the St Bride Printing Library Bride Lane, Fleet Street, London ec4y 8ee 250 copies presented by the printer to The Wynkyn de Worde Society, London, 17 September 1998 500 copies presented by the typefounder at ATypI, Lyon, 23-25 October 1998 250 copies for the Friends of the St Bride Printing Library Research Justin Howes, Nigel Roche Design Justin Howes Production This publication has been made possible through the generosity of The Cloister Press, Cambridge. The binding has been given by Smith Settle, Otley, West Yorkshire. The text is set in a pre-release version of itc Founder's Caslon, seen here for the ìrst time, which has been made available by International Typeface Corporation of New York. Foreword by the Bishop of London The St Bride Printing Library, founded in 1895, stands at the heart of Typefounder's London in an area historically associated with the book and À newspaper trades. The City's modern role, at the forefront of a global ìnancial network, derives above all from the traditions of printing, typefounding and publishing which stem back to before 1500, when Wynkyn de Worde, who was buried in St Bride's Church, brought the printing press to Fleet Street. The habit of reading spread through England from the network of streets around St Paul's Cathedral; and it was at London House in aldersgate, once the property of an earlier Bishop of London, that Jacob Ilive had his foundry.