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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. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
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. -
History of Printing: from Gutenberg to the Laser Printer
History of Printing: From Gutenberg to the Laser Printer by Rochelle Forrester Copyright © 2019 Rochelle Forrester All Rights Reserved The moral right of the author has been asserted Anyone may reproduce all or any part of this paper without the permission of the author so long as a full acknowledgement of the source of the reproduced material is made. Second Edition Published 1 January 2020 Preface This paper was written in order to examine the order of discovery of significant developments in the history of printing. It is part of my efforts to put the study of social and cultural history and social change on a scientific basis capable of rational analysis and understanding. This has resulted in a hard copy book How Change Happens: A Theory of Philosophy of History, Social Change and Cultural Evolution and a website How Change Happens Rochelle Forrester’s Social Change, Cultural Evolution and Philosophy of History website. There are also philosophy of history papers such as The Course of History, The Scientific Study of History, Guttman Scale Analysis and its use to explain Cultural Evolution and Social Change and Philosophy of History and papers on Academia.edu, Figshare, Humanities Commons, Mendeley, Open Science Framework, Orcid, Phil Papers, SocArXiv, Social Science Research Network, Vixra and Zenodo websites. This paper is part of a series on the History of Science and Technology. Other papers in the series are The Invention of Stone Tools Fire The Neolithic Revolution -
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. -
1 Thomas Hvid Kromann “Montages Wrapped in Flong: a Material–Archaeological Investigation of Asger Jorn and Guy Debord'
Thomas Hvid Kromann “Montages wrapped in flong: a material–archaeological investigation of Asger Jorn and Guy Debord’s Fin de Copenhague” (2015) Extended English summary "Montager svøbt i matricepap. En materialearkæologisk undersøgelse af Asger Jorn og Guy Debords Fin de Copenhague" was published in the Danish peer-reviewed journal Fund & Forskning, no. 54, 2015, pp. 587–625. Published by The Royal Library in Copenhagen. Thomas Hvid Kromann (b. 1974), PhD Researcher at the Center for Manuscripts and Rare Books, The Royal Library, Copenhagen, Denmark. [email protected] and [email protected] Aim of the article The making of Fin de Copenhague took place a couple of months before the foundation of the Situationist International movement (1957–72) and is closely linked to it. In an increasingly politicized situationist movement, Fin de Copenhague and its sequel, Mémoires, were instrumentalized as“documents” – not as art works in a book format, but rather as anti- art works. As was stated in the first issue of the bulletin Internationale Situationniste, no situationist art form could exist, only a situationist use of artistic methods. This self- perception, primarily influenced by Debord, has subsequently influenced the way the two books have been critically received. In the decades that followed their creation, relatively little attention was paid to them in the increasing amount of research into the art of Jorn, the political-avantgardist activism of Debord and the situationist movement. The “concept” behind the books was reduced to the theoretical framework of the situationist movement (corresponding to key situationist strategies such as “détournement”), while the material dimension of the concrete artefacts themselves was neglected. -
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 -
Glossary of Terms for Pre-Industrial Book History
Utah State University DigitalCommons@USU Library Faculty & Staff Publications Libraries 7-2009 Glossary of terms for pre-industrial book history Richard W. Clement Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/lib_pubs Part of the Library and Information Science Commons Recommended Citation Clement, Richard W., "Glossary of terms for pre-industrial book history" (2009). Library Faculty & Staff Publications. Paper 11. https://digitalcommons.usu.edu/lib_pubs/11 This Other is brought to you for free and open access by the Libraries at DigitalCommons@USU. It has been accepted for inclusion in Library Faculty & Staff Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Glossary 7/6/09 10:48 AM GLOSSARY OF TERMS FOR PRE-INDUSTRIAL BOOK HISTORY Richard W. Clement Utah State University Addendum / Addenda - addition / additions to the book after it has been printed. Bifolium - two conjugate leaves; a sheet prepared for writing or having been written on. Biting - the fusion of two strokes in two different letters, woven together in textura. Black-letter type - gothic or textura type. Boards - the wood, paste-board, straw-board, or other base for the sides of any bound or cased book, i.e. any book in hard covers. Body of the type - the height of the letter (or point size). Boss - metal knobs used to protect the surface of the leather sides of the binding. Bound - A book in which the gatherings are sewn onto horizontal cords, the free ends of which are then drawn through holes in the board and firmly attached so that leaves and binding become a structural entity. -
Bed & Platen Book Printing Machines
BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII BED & PLATEN Book Printing Machines American and British streams of ingenious regression in the quest for print quality A technical study by Douglas W. Charles with a foreword by Stephen O. Saxe PLANE SURFACE PRESS MMXVII A C K N O W L E D G M E N T S In addition to the late William Elligett, whose urging and generosity spurred this study, the following institutions and individuals are owed particular thanks. The author takes credit for all errors of fact or interpretation. Bodleian Library, Staff British Library Quick Information (Patents), Ziaad Khan Compuset Centre of Darjeeling, Bon Pradhan Full Circle Media Arts, Gregg Poppen Historiche Drukkerij Turnhout, Herwig Kempenaers Ketchikan Daily News, Lew Williams III Ketchikan Public Library, Staff Leeds (UK) City Council, Business and Patent Information Services, Staff Oxford University Press (Archives) Dr. Martin Maw, (Library) Staff Radcliffe Science Library,Staff St. Bride Printing Library, Clare Amos, Lyn Arlotte, Robert Richardson Smithsonian Institution, Dr. Elizabeth Harris, Stanley Nelson Hall Anderson Don Charles Mick Elligett Peter Marsh Stephen O. Saxe Dorothee Snoek iii F O R E W O R D The bed and platen printing machine seems to be the “missing link” in the story of the evolution of the printing press. The narrative, as usually presented, begins with Gutenberg’s adaptation of the wine press, followed centuries later by Blaeu’s improvements in the 1620s. -
Typesetting & Publishing Glossary
. IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN Alessandro Segalini, Dept. of Communication Design: alessandro.segalini @ ieu.edu.tr — homes.ieu.edu.tr/~asegalini DESKTOP PUBLISHING GLOSSARY 1/4 A Acetate – a transparent sheet placed over artwork allowing Bromide – a photographic print made on bromide paper. Cross head – a heading set in the body of the text used to the artist to write instructions or indicate where second colour Bronzing – an effect produced by dusting wet ink after print- break it into easily readable sections. is to be placed. See “Overlay”. ing with a metallic powder. Cursive – used to describe typefaces that resemble written Addendum – supplementary material additional to the main Bullet – a large dot preceding text to add emphasis. script. body of a book and printed separately at the start or end of the Cut flush – a method of trimming a book after the cover has text. C been attached to the pages. Air (US) – an amount of white space in a layout. Calendered finish – produced by passing paper through a Cutout – a halftone where the background has been removed Airbrush – a mechanical painting tool producing an adjust- series of metal rollers to give a very smooth surface. to produce a silhouette. able spray of paint driven by compressed air. Used in illustra- Caliper – the thickness of sheet of paper or board expressed tion design and photographic retouching. in microns (millionths of a metre). Also the name of the tool D Align – to line up typeset or other graphic material as speci- used to make the measurement.