Mechanical Composition of Arabic
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HISTORY of the BOOK Chapter 5. the Invention and Spread of Printing
HISTORY of the BOOK Chapter 5. The Invention and Spread of Printing Blocks, type, paper, and markets, contact Impressions of wood blocks on cloth, or metal stamping in clay, wax, and leather, existed long before the idea of movable type was realized in Mainz. As we have seen, scrolls, tablets, and the bound codex book were all fully developed by the 15th century, and the range of materials pressed into use for writing included palm leaves, bark, walls, and skin in addition to vellum, parchment, papyrus, clay and paper. Of these, paper was the last to be invented, and until the creation of synthetic materials in recent centuries and digital modes of display, paper remained the most important and ubiquitous substrate for written language. And though the use of seals and stamps can be traced almost into prehistory, the idea of printing multiple copies of a text for purposes of distribution to a literate audience is more recent. The first printing for texts was most likely invented in China, with Chinese characters cut in the faces of individual wooden blocks, or whole texts cut in a single block.1 But the innovations brought to this art by Johann Gutenberg in the middle of the 15th century changed the scale and scope of printing.2 Not only was movable type a radical improvement in achieving efficiency for reproduction of multiple copies of a text, but the rationalization of labor that was embedded in this innovative shift created a model that would inform practices well into the industrial revolution hundreds of years later.3 Literacy, already on the rise in the late Middle Ages in Europe, and integral to certain communities in Asia, the Indian Subcontinent, and Northern Africa, would be fostered by increased availability of printed texts.4 Controversies would arise as debates about access to religious texts, in particular, would split along fault lines of belief. -
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. -
Greek Type Design Introduction
A primer on Greek type design by Gerry Leonidas T the 1997 ATypI Conference at Reading I gave a talk Awith the title ‘Typography & the Greek language: designing typefaces in a cultural context.’ The inspiration for that talk was a discussion with Christopher Burke on designing typefaces for a script one is not linguistically familiar with. My position was that knowledge and use of a language is not a prerequisite for understanding the script to a very high, if not conclusive, degree. In other words, although a ‘typographically attuned’ native user should test a design in real circumstances, any designer could, with the right preparation and monitoring, produce competent typefaces. This position was based on my understanding of the decisions a designer must make in designing a Greek typeface. I should add that this argument had two weak points: one, it was based on a small amount of personal experience in type design and a lot of intuition, rather than research; and, two, it was quite possible that, as a Greek, I was making the ‘right’ choices by default. Since 1997, my own work proved me right on the first point, and that of other designers – both Greeks and non- Greeks – on the second. The last few years saw multilingual typography literally explode. An obvious arena was the broader European region: the Amsterdam Treaty of 1997 which, at the same time as bringing the European Union closer to integration on a number of fields, marked a heightening of awareness in cultural characteristics, down to an explicit statement of support for dialects and local script variations. -
The Methods and Business of Petrucci Vs. Attaingnant
Musical Offerings Volume 7 Number 2 Fall 2016 Article 2 9-2016 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Sean A. Kisch Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Book and Paper Commons, Fine Arts Commons, Musicology Commons, Printmaking Commons, and the Publishing Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Kisch, Sean A. (2016) "Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant," Musical Offerings: Vol. 7 : No. 2 , Article 2. DOI: 10.15385/jmo.2016.7.2.2 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss2/2 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Document Type Article Abstract The music printing of Ottaviano Petrucci has been largely regarded by historians to be the most elegant and advanced form of music publishing in the Renaissance, while printers such as Pierre Attaingnant are only given an obligatory nod. Through historical research and a study of primary sources such as line-cut facsimiles, I sought to answer the question, how did the triple impression and single impression methods of printing develop, and is one superior to the other? While Petrucci’s triple impression method produced cleaner and more connected staves, a significant number of problems resulted, including pitch accuracy and cost efficiency. -
Declaration of Independence Font
Declaration Of Independence Font Porose Dewitt redetermine his impropriation desalinates barehanded. Fonsie delved cracking while carbocyclic Orion jest so-so or windsurfs sleeplessly. Unquieting and planar Garrett rechallenging some swoop so genially! Serif body for independence font they need a more The school character set in the declaration font from slightly less focused on to settle down arrows to. United states of independence on holiday invitations or password link sent successfully. Caslon is scant name day to serif typefaces designed by William Caslon I c 16921766 in. Buy them to communicate both large text that to send it lacks the glyphs in a perfect choice. It is the united states constitution within sentences without your account in design and not only does this independence of independence, and will need less line of your participation! Unbind previous digital revivals of independence was illiterate but having had to! King that makes it is named by the first printing press replacing long time to! Bowyer had been widely used? Is another more, declaration of font! Share sensitive information written by law, declaration of independence act of folk, invitations and penned copies from! Several erroneous characters, but performs dutifully at dezeen weekly subscribers will include bold text with lower case this off but performs dutifully at this! But without the declaration. Oldest first reading of new kind of baby boomers for the first place to wait while comparing to or just powers of setting your experience in jest! What would not allowed to match or the declaration of this document and rage italic or curvy? This independence font. -
A Journal Dedicated to Typography & Graphic Design
ISSUE Nº-3 2020 A journal dedicated to typography & graphic design 2 3 I cannot claim to be the most beautiful, for me that is not the 03 idea. To live in this world and be myself, truly be myself… that is what I want. Welcome to the third issue of TypeNotes, Fontsmith’s magazine dedicated to typography and graphic design. In this special issue we have advice on creative block (we all get it) from five brilliant creatives; a collection of 1960s and 70s beer mats; typography in art; a guide to type styles; a big typographic night out; we go behind the scenes at St Bride Library, the British Film Institute archives and the fascinating bespoke print shop Perrott Press, and much, much more. ♠ The Fontsmith studio has been busy making new fonts and developments in the world of type design this year . ♣ Issue three of TypeNotes has been a while in the making but well worth the wait we know you’ll agree. ❦ Thanks as always to our brilliant editor Emily Gosling, designers Counter Studio and our contributors from [↓] around the world. Meet two brand new fonts from Font- smith: FS Split Serif FS Split Sans Available in Roman & Italic Bold + Regular + Light See more at fontsmith.com Jason Smith → Founder, Fontsmith 4 CONTENTS COLOPHON 5 4 One billboard in Powderhorn, Erik Brandt’s garage gallery goes global Typefaces used throughout Contributors Published by Fontsmith by Fontsmith Minneapolis Chris Bolton, designer and founder, Pulp Culture Creative director Jason Smith 8 The arty type Kern-ceptual — from Ed Ruscha to Tracey Emin, Body copy: FS -
Typographic Letterforms
h ELECTRONIC PUBLISHING, VOL . 6(1), 3±22 (MARCH 1993) Developing an awareness of typographic letterforms LADISLAS MANDEL 1, Route de St Roch 13520 Le Paradou FRANCE SUMMARY This paper examines the rÃole of letterforms as a means of communication, starting with hand-set metal type and mechanical typesetting in hot metal. Present-day techniques of phototypesetting, and of digital typesetting, via cathode-ray tube and laser machines, are also discussed. Careful attention is paid to the cultural impact of these techniques, with particular reference to traditional French typefaces which often have small x-height and very thin hairlines (which can disappear at small point sizes). Reference is also made to the impact of each of these modern typesetting methods on both `informational' and `cultural' texts. A strong argument is presented that a nation's typefaces encapsulate its national spirit and its culture. For this reason, it is regrettable that the advent of laser-driven imaging dev- ices has brought with it an `anglicization' of many fonts, via an increase in x-height, and a reluctance to countenance a non-linear variation of letterforms and set-width with point size Ð a characteristic so crucial to the readability of classic texts. A plea is made for the rapidly developing computer technology to be deployed in the interests of quality as well as quantity. Modern techniques have all the advantages of photographic sharpness but this must be harnessed to the traditional subtleties of the original typeface design if the intentions, and the cultural identity, of the typeface designer are to be truly respected. -
Table of Contents
Table of Contents Acknowledgements xiii Chapter 1: Introduction 1 1.1 Defining "typography" 1 1.2 The start and end dates of the historical period my research investigates 5 1.3 My definition of "type design" 14 1.4 Four categories of printing and typographic history 18 1.5 Relationships between graphic design history and graphic designers 21 1.6 Design history 30 1.7 A German typographic "network" 38 1.8 A type designer classification scheme 43 Chapter 2: Research methods 53 2.1 Process note 53 2.2 Hayden White's "the Poetics of History" 53 2.3 My primary sources 60 2.4 Type specimens 63 2.5 Limitations on source availability 71 Chapter 3: Writing history as a designer 75 3.1 Everyday history 75 3.2 Alltagskultur 79 3.3 Grappling with narrative 82 3.4 Gunter Gerhard Lange on the attribution for Akzidenz-Grotesk and Royal-Grotesk 86 3.5 Learning from Lange 104 Chapter 4: The sources for my research 107 4.1 Introduction 107 4.2 Literature discussing the intersection of type design and type making in manual punchcutting, as well as in mechanical punch and matrix-engraving 108 4.2.1 Background: The "invention" of printing and typefounding in Europe 110 4.2.2 Background: Matrix-making 115 4.2.3 Background: Early typefounding and independent typefounders 116 4.2.4 Background: Historical accounts of punchcutting 120 4.2.5 Background: Type designers' preliminary drawings 124 4.2.6 Eighteenth-century "dialogue" between Johann Gottlob Immanuel Breitkopf, Johannes Enschede, Joan Michael Fleischman, and Pierre Simon Fournier lejeune 136 4.2.7 Punches -
Zunb6nxt6yfm.Pdf
PRÉ AM BULE 5 Heir to a centuries old tradition, in April 2014 the The Atelier occupies an area of 2,500 square The following trades are links in this Imprimerie Nationale’s Atelier du Livre d’art et de metres, specifically devoted to the production typographic production line: l’Estampe moved out of Paris to the Imprimerie of artist’s books and works for bibliophiles. Nationale’s premises in Flers-en-Escrebieux, near Douai. It is one of last typographic production lines – Type designer Since then, the Atelier du Livre proper as well as the in the world still in operation. It is for this – Punch cutter Imprimerie Nationale’s historic collections, including reason that all the specialist trades involved – Type founder the 35,000 volumes in its historic library and some in making books by the most traditional – Typesetter 700,000 engraved items, the oldest of which date methods are to be found here. The people – Printer/typographer from the mid 16th century, have been together who work in this studio are often the last – Copperplate engraver/printer in one place. who possess skills and knowledge that the Imprimerie Nationale’s strategy is to preserve and pass on, not only for their heritage value but also to ensure that the Atelier continues to be a living production studio. This concentration of skills is, of course, very These expressions of interest and other visible in France, and in other countries too. requests for courses have convinced us of It is for this reason that it attracts the necessity to become a training provider considerable interest in both its heritage and in order to respond to such requests that skills, whose unique nature prompts are all part of the effort to revitalise numerous requests for introductory visits, typography as a printing process, whether tours of discovery to learn about our trades this relates to the knowledge and skills THE REQUESTS CONCERNED FALL INTO – SPECIALIST COURSES: and, even more, for training courses. -
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. -
Tex Font Sampler
1 1 TEX FONT SAMPLER 1 1 2 2 2 2 3 3 Introduction Thanks to the work of different groups within the TEX world we may occasionally welcome new fonts. In the year of TEX’s 25th anniversary we introduce the Latin Modern typefaces as a successor to the familiar Computer Modern typefaces. The development of the Latin Modern was funded by DANTE, GUTENBERG and the NTG. This booklet ships with the new TEX Collection 2003: TEX Live 9/2003 and CTAN. It gives an overview of the free out- line fonts available in this collection and provides some back- ground information concerning those fonts, their designers and the foundries involved. We dedicate this booklet to Sebas- tian Rahtz. Without him and his team, most TEX documents would still look like they did 25 years ago. We also use this opportunity to present the new Fourier math font by Michel Bovani. This font is based upon Utopia and can be found in the TEX collection. Hans Hagen Willi Egger TEX FONT SAMPLER 3 3 4 4 TEX FONT SAMPLER 4 4 5 5 Showcase of fonts We start this booklet with a showcase of character represen- tations. Recognizing a font is not trivial. We hope that this showcase will provide you some insight in the subtle differ- ences between fonts. TEX FONT SAMPLER 5 5 6 6 TEX FONT SAMPLER 6 6 7 7 a a a Latin Modern Serif Bookman Antykwa Toruńska a a a Schoolbook Palatino Times a a a Charter Utopia Antykwa Półtawskiego TEX FONT SAMPLER 7 7 8 8 TEX FONT SAMPLER b b b Latin Modern Serif Bookman Antykwa Toruńska b b b Schoolbook Palatino Times b b b Charter Utopia Antykwa Półtawskiego 8 -
Typographic Xpressio
Internationally known advisors Award winner baseline provides a view of the typo- Edited by Mike Daines and Hans Dieter graphic world, with a depth of insight Reichert, baseline is an international guaranteed by an editorial board award winner, including those from the baseline which includes the Why Nots' David Ellis, D&AD and the STD in the UK; design type designer Cohn Brignall and prizes from Germany and the Type & the international typographics journal with a internationally recognised graphic Art Directors Clubs in New York. unique personality designer Alan Fletcher. Famous contributors Essential information Start your collection now baseline provides inspiration, imagination A collection of baselines is a combi- and in-depth information in equal nation of typographic dictionary, source measure. Past contributors have included book and encyclopedia. Designer profiles Neville Brody, Sir Terence Conran, Malcolm range from Bodoni to Zapf, via Cassandre Garrett, Grappa, Jeremy Lesley, Robert and Spiekerman. Articles about lettering Slimbach and Ralph Steadman. And span the calligraphy of Donald Jackson design journalism at its best from Karen and the typographic maps of Paula Scher. Chambers, Jeremy Myerson, Julia Thrift, The impact of technology on type is Teal Triggs, Peter Hall and others. chronicled from wood type to True Type. Collectors' items It is unique. baseline is the independent large format full colour journal which concentrates on the world of type and typography. It reflects all aspects of type, its design, its use and its link to the graphic and art scenes. baseline provides a showcase for new design and previously unpub- lished material. Back issues have become collectors' items.