A Tally of Types: with Additions by Several Hands Edited by Brooke Crutchley Frontmatter More Information
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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). -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
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 . -
The Graphie Latine Movement and the French Typography Manuel Sesma Prieto
UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) UNE ÉMERGENCE DU DESIGN FRANCE, 20e SIÈCLE Sous la direction de Stéphane Laurent Université Paris 1 Panthéon-Sorbonne THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Pour citer cet article Manuel Sesma Prieto, « The Graphie Latine Movement and the French Typogra- phy », dans Stéphane Laurent (dir.), Une émergence du design. France 20e siècle, Paris, site de l’HiCSA, mis en ligne en octobre 2019, p. 126-143. THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Associate professor, Facultad de Bellas Artes, Universidad Complutense de Madrid Introduction Most works dealing with the history of typography, many of Anglo-Saxon authors, reflect the period covered by the two decades after World War II practically dominated by neogrotesque typefaces. However, there were some reactions against this predominance, mainly from traditionalist positions that are rarely studied. The main objective of this research is thus to reveal the particular case of France, where there was widespread opposition to linear typefaces, which results into different manifestations in the field of national typography. This research wants therefore to situate the French typographical thought (which partially reflected the traditionalism of British typographical reformism led by Stanley Morison 1) within the history of European typography, and in a context dominated by the modern proposals arising mainly from Switzerland. This French thought is mostly shown in a considerable number of articles published in various specialist and professional press media, which perfectly reflected the general French atmosphere. -
Berthold Wolpe Geboren Am 29
Berthold Wolpe Geboren am 29. Oktober 1905 in Offenbach am Main, gestorben am 5. Juli 1989 in London. Nach dem Abitur 1925 Lehre als Bronzegießer, in der Hauptsache aber als Ziseleur. 1925–1928 Technische Lehr- anstalten in Offenbach. Mitglied in der »Offenbacher Werkgemein- schaft« von Rudolf Koch. Von 1929–1933 Lehrtätigkeit an den Techni- schen Lehranstalten Offenbach und gleichzeitig Lehrer für Schrift an der Kunstschule Frankfurt (später Städelschule). 1935 Emigration nach London. Dort Graphiker, Buchgestalter und Lehrer für Schrift (zuletzt am Royal College of Art, London). 1983 Aufnahme in den Order of the British Empire. http://www.klingspor-museum.de Albertus 1938 Monotype Linotype Albertus Light 1940 Monotype Linotype ALBERTUS TITLING 1936 Monotype Bold Titling 1940 Monotype Decorata 1956 Fanfare Press 1952 Bauer. Gießerei LTB Italic 1973 London Transport unveröffentlicht 1937 Monotype 1936 Monotype G. Helzel Sachsenwald Gotisch halbfett 1938 Monotype Sachsenwald Gotisch fett Monotype Titling 1936 Fanfare Press Wolpe Fraktur 1933 D. Stempel AG unveröffentlicht Abbildung siehe Anhang http://www.klingspor-museum.de Berthold Wolpe Collection Bearbeitung der Schriften von Berthold Wolpe durch Toshi Omagari für Monotype Albertus Nova Thin 2017 Monotype Linotype Albertus Nova Light 2017 Monotype Linotype Albertus Nova 2017 Monotype Linotype Albertus Nova Bold 2017 Monotype Linotype Albertus Nova Black 2017 Monotype Linotype Sachsenwald Light 2017 Monotype Linotype Sachsenwald 2017 Monotype Linotype Wolpe Fanfare Thin 2017 Monotype -
Andre Benard Annexes These.Pdf
THÈSE DE DOCTORAT DE L’ÉCOLE NORMALE SUPÉRIEURE DE CACHAN Présentée par Monsieur Bernard André Pour obtenir le grade de DOCTEUR DE L’ÉCOLE NORMALE SUPÉRIEURE DE CACHAN Domaine : Sciences de l’éducation Sujet de la thèse : UTILISATION DES PROGICIELS IDENTIFICATION D’OBSTACLES ET STRATÉGIES DE FORMATION ANNEXES Nom du Laboratoire : UMR STEF/ENS CACHAN/INRP 61, avenue du Président Wilson, 94235 Cachan cedex (France) Sommaire Annexe 1 : analyse de la revue EPI Chapitre 2 section 2.1.3. p. 52 ................................. 5 re Annexe 2 : chapitre 2, 2.2.1. p. 80 Enquête auprès des étudiants de DEUG 1 année en Sciences et Techniques des Activités Physiques et Sportives de Paris 1 ....................... 28 Annexe 3 Histoire du traitement de texte chapitre 6, p. 194 .......................................... 57 Annexe 4 Chapitre 4 typographie et dactylographie (chapitre 4 p. 150)........................ 65 Annexe 5 Conseils typographiques aux dactylos de Charles Dellion (chapitre 4 p. 149) ........................................................................................................................................ 87 Annexe 6 Traitement automatique des traces dans les fichiers .................................... 117 Annexe 7 Polices de caractères sous Windows utilisables dans Word......................... 133 Annexe 8 Exemples de mises en forme posant des problèmes de visibilité et de lisibilité (voir chapitre 8) ............................................................................................................ 205 Annexe 1 : analyse de la revue EPI Chapitre 2 section 2.1.3. p. 52 Annexe 1 : analyse de la revue EPI Page d’accueil de l’Association EPI : http://www.epi.asso.fr/association/epi_presentation.htm L'association EPI Enseignement Public et Informatique L'association Enseignement Public et Informatique, association pionnière fondée en 1971, continue de militer pour l'évolution du service public d'enseignement et de formation à la promotion duquel elle reste attachée. -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Man of Letters: Matthew Carter's Life in Type Design
MAN OF LETTERS Matthew Carter's life in type design BY ALEC WILKINSON Onward And Upward With The Arts; Pg. 56 December 5, 2005 Matthew Carter is often described as the most widely read man in the world. Carter designs typefaces. He is universally acknowledged as the most significant designer of type in America, and as having only one or two peers in Europe. A well regarded British type designer named Dave Farey once told a reporter, "There's Matthew Carter, and then there's the rest of us." Carter is sixty‐eight. He is British, and he lives in Cambridge, Massachusetts. He works in a room in his apartment. He has designed type for magazines such as Time, Newsweek, U.S. News & World Report, Sports Illustrated, Wired, National Geographic, and Business Week; and for newspapers, including the New York Times, the Washington Post, the Boston Globe, the Philadelphia Inquirer, and the Guardian, in London. He designed Verdana, for several years the signature typeface of Microsoft; Bell Centennial, the typeface used by A.T. & T. in the phone book; and type called Galliard, which has been used by the U.S. Postal Service on a stamp. Carter has a partner named Cherie Cone who lives in California and sees to the business side of their firm, which is called Carter & Cone Type. Recently, he's been engaged with three projects. One involved designing type for Le Monde, the French newspaper, which wanted a different appearance; one, still under way, is for Yale, where Carter teaches (the university wants a typeface for its official documents, its signs, and the work of its students and faculty); and the third was for the Times. -
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. -
John Howell for Books
John Howell for Books Muir Dawson’s Personal Library August 2013 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. Check and PayPal payments preferred; credit cards accepted. Make 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 accomodated. 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 $ 5.00 for a typical octavo volume; additional items $ 2.00 each. Large or heavy items may require additional postage. We actively solitcit offers of books and ephemera to purchase, including estates, collections and consignments. Please inquire. A selection of books from Muir Dawson’s library. BOOK FAIRS: I will be showing at the following book fairs; passes available upon request: September 14, 2013 - Sacramento Antiquarian Book Fair October 5, 2013 - Los Angeles Printer’s Fair, Torrance CA October 12 and 13, 2013 - Seattle Antiquarian Book Fair John Howell for Books 3 1 AARON, William Metcalf. Italic Writing: A Concise Guide. New York: Transatlantic Arts, 1971. -
Role Serif Display Pro
Morisawa Inc. Role Serif Display Pro Role Serif is part of the first stand-alone Latin typeface family released by Morisawa. Other genres in the family include Slab, Sans and Soft. Role Serif has the clearest image of seriousness or faithfulness among other styles. Text has the lowest contrast and the sturdy serifs for high legibility. The contrast gets higher for Display and Banner to help the look become more elegant. The letterforms are optimised for the target usage of each optical range. The letterforms of Text are consistent but morphs into the more decorative design for Display and Banner. The Display is in between Text and Banner and looks more graceful than Text but not too prominent to affect the versatility. Ban- ner is the most elegant design. The characteristic is more emphasised especially for the heavier weights where the widths narrow down. PUBLISHED: LANGUAGE: OPENTYPE FEATURES: 2019 Latin (98+) Proportional lining figures Proportional oldstyle figures FORMAT: SERIES & SCRIPTS: Fraction OpenType Role Serif Text Pro Case Sensitive form Role Serif Banner Pro Superscript/Subscript STYLES: Small Caps 14 Styles (7 weight with Italics) Caps to Small Caps Zero Slash Scientific Inferior DESIGNED BY: Localised Forms Matthew Carter Sakura Taruno Kunihiko Okano https://en.morisawa.co.jp | © 2019 Morisawa Inc. All rights reserved. Role Serif Display Pro STYLE SAMPLE Role Serif Display Pro Extralight Role Serif Display Pro Extralight Italic Role Serif Display Pro Light Role Serif Display Pro Light Italic Role Serif Display Pro Regular Role Serif Display Pro Italic Role Serif Display Pro Medium Role Serif Display Pro Medium Italic Role Serif Display Pro Bold Role Serif Display Pro Bold Italic Role Serif Display Pro Extrabold Role Serif Display Pro Extrabold Italic Role Serif Display Pro Heavy Role Serif Display Pro Heavy Italic https://en.morisawa.co.jp | © 2019 Morisawa Inc.