Cold Type: Computerized Typesetting and Occupational Subcultures in the New York City Newspaper Industry
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
VIS 215, Graphic Design Princeton University 185 Nassau Room 303
VIS 215, Graphic Design Princeton University 185 Nassau Room 303 Tue 1:30 – 4:20 pm, 7:30 – 9:40 pm David Reinfurt / [email protected] www.t-y-p-o-g-r-a-p-h-y.org T-y-p-o-g-r-a-p-h-y This class will be organized as either (take your pick) a practical seminar or, a theoretical workshop. It will not be a simple exercise in learning the tools of graphic design but neither will it be a grand tour through its history and theory. Instead the class will be run as half-workshop and half-seminar, usually at the same time. Graphic design has an equally split personality — it’s both the technical execution of writing words (images, ideas) into the world by giving them form; and it is also a way of understanding the world through the forms of its writing. Designer and writer Paul Elliman describes the two-way street concisely: “Writing gives the impression of things. Conversely, things can give the impression of writing.” I’d suggest that this reading-and-writing-at-the-same-time, or typography, is the root-level skill of graphic design. So in this introductory class, we will focus on typography by both reading about and making it. The word “Typography” has split roots as well. Evolved from the Greek, “typos” means “figure” and “grapho” means “I write.” This two-sided practice (reading- writing) I’ve just described is even written directly into the word “typography” itself. If there is one fundamental skill that every beginning graphic design student should master, it is this: to be able to set a text so that the form it is given works together with the substance of the text to produce a third meaning. -
2010 Type Quiz
Text TypeCon 2010 Typographic Quiz Here’s How It Works 30+ Questions to Test Your Typographic Smarts Divided Into Two Parts Part One • 12 Questions (OK, 17) • First right answer to each question wins a prize • Your proctor is the arbiter of answer correctness Part Two • 18 Questions • Answers should be put on “quiz” sheets • Every correct answer to a multiple part question counts as a point • 33 Possible right answers What’s it worth? • There are the bragging rights... • How about the the Grand Prize of the complete Monotype OpenType Library of over 1000 fonts? There’s More... • Something special from FontShop • Gimme hats from Font Bureau • Industrial strength prizes from House Industries • TDC annual complements of the TDC And Even More... • Posters from Hamilton Wood Type Museum • Complete OpenType Font families from Fonts.com • Books from Mark Batty Publisher • Fantastic stuff from P22 And Even More... • Fonts & books & lots of great things from Linotype • Great Prizes from Veer – including the very desirable “Kern” sweatshirt • Font packs and comics from Active Images Over 80 prizes Just about everyone can win something Some great companies • Active Images • Font Bureau • Font Shop • Hamilton Wood Type Museum • House Industries • Linotype • Mark Batty Publisher • Monotype Imaging • P22 • Type Directors Club • Veer Awards • Typophile of the Year • The Doyald Young Typographic Powerhouse Award • The Fred Goudy Honorable Mention • Typographer’s Apprentice (Nice Try) • Typographically Challenged Note: we’re in L.A., so some questions may -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
1 You Are About to Enter *A Graphic Design Exhibition.* Go Ahead Now
You are about to enter *a graphic design exhibition.* go ahead now, walk into the gallery. it’s a darkened room, not small, and seems to be roughly a cube. On the walls surrounding you are three large-scale projections, each is cycling through what appear to be abstract graphics, scanned pages, short movies. what binds these various bits together? well, you check out where the projections are coming from, and you find three projectors standing on pedestals. on each is an identifying label. The first reads VIS 215, Graphic Design . after what appears to be a room number and building name (one eighty-five nassau street) is a meeting time. you surmise, clever visitor, that what’s on the projected loop must be the work of a particular class in this university. in fact it is. this first one is ‘introduction to graphic design’ and it shows a sequence of scans of letter-sized pieces of paper, the results of a collaborative exercise where twelve students work together in the typography studio to compose (with individual metal letters) a text titled, ‘the crystal goblet, or printing should be invisible.’ this is the first class assignment. the second is to set another text, this time ‘the new typography,’ using only a photocopier . now, you spin around ninety degrees and find a second VIS 216, Visual Form pedestal. its label says . you know the score by now, and you can safely assume this is another graphic design class. this is also an introduction, but instead of letters, students deal with graphic forms (logos, icons, signs, and so on). -
Digital Reading Practices and the Contemporary US Novel a Dissertat
UNIVERSITY OF CALIFORNIA Los Angeles Reading the Machine: Digital Reading Practices and the Contemporary U.S. Novel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Chelsea Alexandra Kern 2021 © Copyright by Chelsea Alexandra Kern 2021 ii ABSTRACT OF THE DISSERTATION Reading the Machine: Digital Reading Practices and the Contemporary U.S. Novel by Chelsea Alexandra Kern Doctor of Philosophy in English University of California, Los Angeles, 2021 Professor Allison Carruth, Co-Chair Professor Daniel Scott Snelson, Co-Chair “Reading the Machine: Digital Reading Practices and the Contemporary U.S. Novel,” investigates how emerging information technologies—networked devices, software programs, and algorithmic protocols—redefine cultural forms of textual production and reception. Focusing on the longstanding literary form of the novel as a point of entry, “Reading the Machine” develops a new account of the social, material, and aesthetic processes that constitute reading in concert with smart machines and social networks. At stake is an examination of how reading in the digital age has evolved within the larger political and technological systems of digital society. The project thus attends to pressing issues ranging from democratic participation to the racialiZed and unequal structure of cyberculture itself. ii “Reading the Machine” demonstrates how contemporary fictions build pathways for creative, dynamic digital reading on the part of human and nonhuman readers, even as the economic and political infrastructures of digital technologies seek to limit that potential. The four body chapters of the dissertation juxtapose fictional narratives with case studies on hardware engineering, social networks, digital campaign analytics, and artificial intelligence. -
WELLS BOOK ARTS SUMMER INSTITUTE 2016 from the Director WELLS BOOK ARTS SUMMER INSTITUTE 2016
WELLS BOOK ARTS SUMMER INSTITUTE 2016 From the Director WELLS BOOK ARTS SUMMER INSTITUTE 2016 he book arts are alive and well in select communities While each week is filled with intensive hands-on instruction Tacross the United States and around the world. The Artists and practice, there is also time to relax and enjoy the spectacular and Craftspeople who work in paper, ink, metal, and leather sunsets over Cayuga Lake or swim or take things at your own often practice their craft in private studios and quite often pace. Of course there are people who want to work on their in blissful solitude. They also tend to be very open to teach projects late into the evening and can do so. their skills to others in order to carry on traditional crafts that have been passed along over centuries. Upstate New York is On the heels of the success of last year’s Summer Institute, we fortunate to have several pockets of activity in the various present several brand new classes that have never been offered book arts. In the center of New York State lies Wells Book in our eleven years of hosting the Institute. We hope you can Arts Center. Most of the year, the Book Arts Center is at the join us for what some call “Summer camp for adults.” service of Wells College as one of the programs of distinction where students can take classes and even major or minor in the We are especially grateful for generous support given to the book arts. Every Summer the Wells campus transforms into Summer Institute by Wells College and The Gladys Krieble the Wells Book Arts Summer Institute. -
Buy Your NARANJADO NOW!
University of the Pacific Scholarly Commons The Pacifican University of the Pacific Publications 1-8-1953 Pacific eeklyW , Janurary 8, 1954 University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/pacifican Recommended Citation University of the Pacific, "Pacific eeklyW , Janurary 8, 1954" (1953). The Pacifican. 770. https://scholarlycommons.pacific.edu/pacifican/770 This Newspaper is brought to you for free and open access by the University of the Pacific Publications at Scholarly Commons. It has been accepted for inclusion in The Pacifican by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. A Message From Buy Your The President PACIFIC STUDENTS: NARANJADO I have been informed by the Naranjado staff that a new pro gram is underway this year rela tive to the sale of their annual NOW! publication. This was necessita ted by the losses which have been C.O.P. — STOCKTON, CALIFORNIA Jan. 8, 1953 — No. 13 sustained in recent years. The book will be available now until January 15, and absolutely "Marriage Of Figaro" Presented In no others will be sold except to new students registering in the spring semester. Conservatory Next Fri. Eve. At 8:30 It is my understanding that the By GEORGE FOWLER staff is resolute on this matter. So if you want to be sure of ob Wolfgang Mozart's sprightly opera-buffa, "The Marriage of taining a book, as well as sup Figaro" will be given four performances, beginning next Friday porting the Naranjado enterprise, the fifteenth. this word to the wise should be Produced and conducted by Dr. -
DOCUMENTARY JOINS Moma FILM CATALOGUE
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N. Y. 1C: .9 Tel. 956-6100 Cable: Modernart No. 28 August, 1982 For immediate release HOT-TYPE'S LAST EDITION AT THE TIMES; DOCUMENTARY JOINS MoMA FILM CATALOGUE FAREWELL, ETAOIN SHRDLU, a1 29-minute documentary by David Loeb Weiss, records the night of July 2, 1978 in The New York Times' press room, as the last edition composed in hot-metal type is prepared and printed. A printer sits at a century-old Linotype machine at the start of the film and strikes the first 12 letters of the keyboard, "etaoin shrdlu" — the printer's phrase used to fill out a line or signal an error. The title FAREWELL, ETAOIN SHRDLU is a symbolic way of saying goodbye to both the machine and to a printing tradition. The prize-winning documentary has been selected for distribution by the Circulating Film Library of The Museum of Modern Art. William Sloan, Director of Circulating Film, notes that "the film combines the creative techniques of filmmaking and editing with a clear explanation of how a newspaper is really produced." That explanation goes beyond the last night of hot-type and into the computerized composing room of today; as the film's subtitle, "An Age-Old Printing Process Gives Way to Modern Technology" outlines, we see the same printers who demonstrate the old method making the adjustment to the new. Filmmaker David Loeb Weiss, himself a member of the New York Typo graphical Union and a former proofreader at the Times, worked with the paper's cooperation for a "live" and detailed portrait of the process. -
On Collecting (Part One) • Prints and Posters in the Fin
US $25 The Global Journal of Prints and Ideas May – June 2017 Volume 7, Number 1 On Collecting (Part One) • Prints and Posters in the Fin de Siècle • An Artist Collects • eBay as Archive Norman Ackroyd • Collecting for the Common Good • Hercules Segers • Prix de Print • Directory 2017 • News Art_in_Print_8.25x10.75_ExpoChicago 4/24/17 12:55 PM Page 1 13–17 SEPTEMBER 2017 CHICAGO | NAVY PIER Presenting Sponsor Opening EXPO ART WEEK by Lincoln Schatz Lincoln by Series Lake (Lake Michigan) (Lake Off-site Exhibition 16 Sept – 7 Jan 2018 12 Sept – 29 Oct 2017 expochicago.com May – June 2017 In This Issue Volume 7, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Collecting (Part One) Associate Publisher Fleur Roos Rosa de Carvalho 3 Julie Bernatz Interviewed by Catherine Bindman Small Apartments and Big Dreams: Managing Editor Print Collecting in the Fin de Siècle Isabella Kendrick Jillian Kruse 7 Associate Editor Postermania: Advertising, Domesticated Julie Warchol Brian D. Cohen 11 An Artist Collects Manuscript Editor Prudence Crowther Jennifer S. Pride 14 Secrets of the Real Thing: Building a Editor-at-Large Collection as a Graduate Student Catherine Bindman Kay Wilson and Lesley Wright 18 Design Director Speak with Sarah Kirk Hanley Skip Langer To Serve the Common Good: The Grinnell College Art Collection Roslyn Bakst Goldman and 24 John L. Goldman A Socially Acceptable Form of Addiction Kit Smyth Basquin 26 Collecting a Life Patricia Emison 28 Norman Ackroyd’s Collectors Stephen Snoddy Speaks 32 with Harry Laughland Collecting in the Midlands: the New Art Gallery Walsall Prix de Print, No. -
Acrostic Dictionary of Wordplay Terms
ACROSTIC DICTIONARY OF WORDPLAY TERMS ANIL, Perth, Australia A bunch of definitive reverse acrostics presented in February ('10-8) included seven wordplay terms, with especially fun ones for logology and logophile (see below). I thought a rather immod- erate list of wordplay terms similarly defined might be appreciated by logology fans. Read the definitions first. If they are not clear, then consult the examples, which are given as "answers" if needed. For freer definitions see Dave Morice's Dictionary of Word Play (Teachers & Writers Col- lab.: NY, 2001), Chris Cole's Wordplay (Sterling: NY, 1999) or spot WW references. * = repeats from 10-8; 5 = quoted there; RE = contributed by Ross Eckler. I invite others to send in improvements or additional terms. {XaXb} = choose one or read twice, once with each, making two acrostics; (XaIYb) = alternatives within a single acrostic: either one or both may be appropriate [Helvetica font] = examples and comments (not acrostics) Non-bold parts of headwords = also not acrosticised. May your dislike of calling a part the whole be outweighed by your relief at being spared unnecessary repetition or drivel. Even so, I've had to work to minimise expletives (irrelevant filler), preferring redundancy to use up excess letters. Still, many read like headlines and could stand a clarifying a, the, one/you, oJ is or and in places. Some definitions use part of the target term, but mostly I've avoided such 'cheating'. I've also stretched the language occasionally, commandeering marginal words to represent the two most important words in logology, word and letter.? Read these words as letter: alphabit (kid's cereal eponym), characteu; element, grapheme, rune, symbol, tjpe. -
Letterpress Terms
Letterpress Terms GENERAL TERMS Type High – The height of type from it’s base to it’s printing surface. .918 of an inch or 15/16th. Letterpress – A traditional way of printing, where a plate with the image standing proud Type High Gauge – Tool for measuring if type of the surface is inked and then impressed is at the correct height. onto the paper. Traditionally, it was not correct to indent the paper but it has now become fashionable to do so. Printing Press - A device that applies pressure that transfers ink form a surface to a medium. They revolutionized mass communication, changed the course of history & today call back to simpler times. Put simply, they are magic. Platen Press– A press with a flat plate which is pressed against a medium (paper) to cause an impression. These have an inking disc up top and a large flywheel on one side. Pied Type – Type which is in a jumbled mess. Proofing Press – A press used to prep a print for production. The bed of this press is parallel to the ground and either a roller moves on top of the bed or the entire bed itself can move. Letterpress Terms SETTING A FORM California Job Case – method of organization of the letters in a case. is a kind of type case: a Form – what you set to print, composed of compartmentalized wooden box used to store letters and or images. movable type used in letterpress printing. It was the most popular and accepted of the job case designs in America. -
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.