DOCSLIB.ORG

Fournier Le Jeune's Work Was Widely Accepted During the Rococo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fournier Le Jeune's Work Was Widely Accepted During the Rococo FOURNIER TYPOGRAPHIQUE SPECIMEN Fournier Typographic Specimen �� LES CARACTERES DE L’IMPRIMERIE PAR FOURNIER LE JEUNE The characteres of Printing by Fournier le Jeune FOURNIER TYPOGRAPHIQUE SPECIMEN Fournier Typographic Specimen �� LES CARACTERES DE L’IMPRIMERIE PAR FOURNIER LE JEUNE The characteres of Printing by Fournier le Jeune contents History of the Artist 7 The Point System 9 Casting the Letterform 13 Type Styles 15 Type in Use 21 Citation 23 history of the artist pierre-simon fournier his books Fournier le Jeune’s work was widely Sep. 15 1712 - 8 Oct. 1768 was a Author of Manuel Typographique, French mid-18th century punch two volumes published in 1764 and accepted during the Rococo period because cutter, typefounder and typographic 1766. The first volume is one of the theoretician. He was both a collector major source books on the processes of the elegant and sensual curves which he and originator of types. Fournier’s of making printing types in the era of contributions to printing were his the hand press. Volume two includes lent to his type and ornaments. creation of initials and ornaments, his a comprehensive specimen of the design of letters, and his standardiza- types and ornaments of Fournier's tion of type sizes. He worked in the own foundry, most of which he rococo form, and designed typefaces cut himself, and as such provides a including Fournier and Narcissus. record of one of the most remarkable He was known for incorporating personal achievements in the history “decorative typographic ornaments” of typefounding. into his typefaces. Fournier’s main accomplishment is that he “created a his typefaces standardized measuring system that The Fournier mt family by Monotype would revolutionize the typography was based on the types cut by Pierre- industry forever”. Simon Fournier in 1742 and was called St Augustin Ordinaire in Fournier's He was known as Fournier le Jeune Manuel Typographique. It is transi- (the younger); his father Jean Claude tional, almost modern, in character, was also in the type-setting industry. with a distinct French flavor, but with In his early life, Fournier studied wa- more grace and style than traditional tercolour with J.B.C. Colson, and later French oldstyle designs. This modern wood engraving. In 1737, Fournier character influenced the later work of published his first theoretical work, on Bodoni. This adaptation was made by the minimum spacing between letters English Monotype in 1925, and copied while still retaining readability. by Lanston Mono in 1940. 6 7 the point system In 1723, the French government Louis XIV commissioned new According to Fournier’s system, type sizes agreed that types should be subject types for use during his reign. The to standards. By 1737, Fournier le King kept the font as a monopoly to were multiples of a unit which he termed a Jeune decided to begin creating his himself, with penalties against unau- punches to a scale of 72 points to the thorized reproduction of it. “point typographique” based on a scale of Paris inch, instead of the standard height to paper method. Thirty-eight Patenting his invention in 1762, he 144 points. years after Fournier took up this surprisingly was frowned upon by practice, François-Ambroise Didot other printers, who initially didn't based his own system on the pied du recognise the practice as legitimate. roi, the French foot. Didot preserved Fournier’s company remained open his subdivisions, making 72 Didot until the 19th century. Interest in points or 6 Ciceros to the Paris inch. type design was stimulated in 1922 Based on the Paris foot (=0.298 m). by D. B. Updike’s Printing Types. A foot was divided in 12 inches. Each This led The biggest shortcoming inch or better “thumb” was divided of Fournier's system was that it in 12 stripes, a stripe was divided in 6 was not related to any other system points. This point is smaller than the of units. To remedy that, around Didot-point, from F. A. Didot, that 1785 François-Ambroise Didot, a was based in 1770 on the legal “kings- well-known Parisian typefounder, foot”(~ 0.325 m). 12 point Fournier is established a new system which really approximately 11 point Didot. returned to Fournier's 1737 definition of 72 points to the pouce, so one Didot With all of that, the traditional terms point was approximately 0.376 mm. Parisienne, nonpareile, galliarde, petit romain went out the window. In Fournier's point system the size Two years after developing the point Franklin that is called pica would have system, Fournier decided to create been cicéro, 12 points, 6 of which his own type foundry. When the would have been 0.992 inches instead Netherlands was seized by France, of the traditional 0.996. 8 9 TABLE GÉnÉRaLe general table de la Proportion of the Proportions des différens Corps de Caractères. of the different Bodies of Characters. É chelle fIXe fixed ladder de 144 points Typographiques. the Typographical 144 points. No. Body. Points Nomb. Corps. Points 1 Parisienne. 5 1 Parisian. 5 2 NOMPAREILLE. 6 2 IdeAl. 6 3 MIGNONE. 7 3 Cute. 7 4 P ETIT - TEXTE. 8 4 Small - TEXT. 8 5 Gaillarde. 9 5 Gaillard. 9 6 P etit - romain. – 2 Parisiennes. 10 6 Small - roman.– 2 Paris. 10 7 Philosophy. = 1 Paris. 1 Nom- 11 7 Philosophy.= 1 Paris. 1 Smallest. 11 pareille. 8 2 Smallest - Pica = 1 Paris. 1 Cute 12 8 Cicéro. - 2 Nomp. = 1 Pari- 12 9 Saint - Augustin. – 2 Cute = 14 sienne, 1 Mignone. 1 Smallest, 1 Small-text. 9 Saint -Augustin. – 2 Mignones. 14 = 1 Nompareìlle , 1 Petit-texte. parisian = Paris Name of a character Printing. It is smaller than the nompareille. It is philosophie = In terms of Printing, said of a character that is between Cicero and actually of little use, because of its small size, only a few books that for simpe curiosity Romain Petit. is printed. nompareille = Nomp. Is one of the smallest characters whose printers use. It is among mignone = Cute Printing of character, which is between the nompareille and small text. the Small Text and the Sédanoise or Paris gaillarde = Printing character, which is among the Small & Romain Petit text. 10 11 casting the letter form In traditional typography, punch- To test the punch, the punchcutter cutting is the craft of cutting makes an imprint on a piece of paper letter punches in steel from which after coating the punch with soot from matrices were made in copper for an open flame. The soot left by the type founding in the letterpress era. flame acts like ink to create an image Cutting punches and casting type was on the paper (a smoke proof ). the first step of traditional typeset- ting. The cutting of letter punches Once the punches are ready a mold was a highly skilled craft requiring could then be created from the punch much patience and practice. Often by using the punch on a softer metal the designer of the type would not be (such as copper) to create a matrix. personally involved in the cutting. Then, type metal, an alloy of lead, antimony, and tin, flows into the The initial design for type would be matrix to produce a single piece of two-dimensional, but a punch has type, ready for typesetting. depth, and the three-dimensional shape of the punch, as well as factors One characteristic of type metal such as the angle and depth to which that makes it valuable for this use is it was driven into the matrix, would that it expands as it cools, keeping affect the appearance of the type on the accurate dimensions of letters. the page. This characteristic is shared by the bronze used to cast sculptures, but The punchcutter begins by transfer- copper-based alloys generally have ring the outline of a letter design to melting points that are too high to be one end of a steel bar. The outer shape convenient for typesetting. of the punch could be cut directly, but the internal curves of a small punch were particularly difficult as it was necessary to cut deep enough and Punch Matrix Type straight into the metal. 12 13 type styles Fournier MT Pro 14 pt A B C D E F G H I J K L M N O P Q R S T U V W X Y Z The typefaces that Fournier and successors a b c d e f g h i j k l m n o p q r s t u v w x y z created had such extreme contrast between 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 thick and thin strokes, that there was a constant risk of the letters shattering. Fournier MT Regular Tall Caps 14 pt A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 Fournier MT Pro Italic 14 pt A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 Fournier MT Regular Tall Caps Italic 14 pt A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 14 15 regular italic Numerals $ $ $ ¢ ¢ £ £ ¤ ¥ ₡ € $ $ $ ¢ ¢ £ £ ¤ ¥ ₡ € Currencies Ligatures fi fl ff ffi fflfb fh fj fk st ct fi fl ff ffi ffl fb fh fjfkstct Mathematical + < = > | ~ ¬ ± × ÷ ⁄ ∂ ∆ ∏ ∑ − ∕ ∙ √ ∞ ∫ ≈ ≠ ≤ ≥ + < = > | ~ ¬ ± × ÷ ⁄ ∂ ∆ ∏ ∑ − ∕ ∙ √ ∞ ∫ ≈ ≠ ≤ ≥ Sybols Punctuation ! " # % & ' ( * ) , - .
Load more

Recommended publications
  • Essential Chomsky
    CURRENT AFFAIRS $19.95 U.S. CHOMSKY IS ONE OF A SMALL BAND OF NOAM INDIVIDUALS FIGHTING A WHOLE INDUSTRY. AND CHOMSKY THAT MAKES HIM NOT ONLY BRILLIANT, BUT HEROIC. NOAM CHOMSKY —ARUNDHATI ROY EDITED BY ANTHONY ARNOVE THEESSENTIAL C Noam Chomsky is one of the most significant Better than anyone else now writing, challengers of unjust power and delusions; Chomsky combines indignation with he goes against every assumption about insight, erudition with moral passion. American altruism and humanitarianism. That is a difficult achievement, —EDWARD W. SAID and an encouraging one. THE —IN THESE TIMES For nearly thirty years now, Noam Chomsky has parsed the main proposition One of the West’s most influential of American power—what they do is intellectuals in the cause of peace. aggression, what we do upholds freedom— —THE INDEPENDENT with encyclopedic attention to detail and an unflagging sense of outrage. Chomsky is a global phenomenon . —UTNE READER perhaps the most widely read voice on foreign policy on the planet. ESSENTIAL [Chomsky] continues to challenge our —THE NEW YORK TIMES BOOK REVIEW assumptions long after other critics have gone to bed. He has become the foremost Chomsky’s fierce talent proves once gadfly of our national conscience. more that human beings are not —CHRISTOPHER LEHMANN-HAUPT, condemned to become commodities. THE NEW YORK TIMES —EDUARDO GALEANO HO NE OF THE WORLD’S most prominent NOAM CHOMSKY is Institute Professor of lin- Opublic intellectuals, Noam Chomsky has, in guistics at MIT and the author of numerous more than fifty years of writing on politics, phi- books, including For Reasons of State, American losophy, and language, revolutionized modern Power and the New Mandarins, Understanding linguistics and established himself as one of Power, The Chomsky-Foucault Debate: On Human the most original and wide-ranging political and Nature, On Language, Objectivity and Liberal social critics of our time.
    [Show full text]
  • Adobe Font Folio Opentype Edition 2003
    Adobe Font Folio OpenType Edition 2003 The Adobe Folio 9.0 containing PostScript Type 1 fonts was replaced in 2003 by the Adobe Folio OpenType Edition ("Adobe Folio 10") containing 486 OpenType font families totaling 2209 font styles (regular, bold, italic, etc.). Adobe no longer sells PostScript Type 1 fonts and now sells OpenType fonts. OpenType fonts permit of encrypting and embedding hidden private buyer data (postal address, email address, bank account number, credit card number etc.). Embedding of your private data is now also customary with old PS Type 1 fonts, but here you can detect more easily your hidden private data. For an example of embedded private data see http://www.sanskritweb.net/forgers/lino17.pdf showing both encrypted and unencrypted private data. If you are connected to the internet, it is easy for online shops to spy out your private data by reading the fonts installed on your computer. In this way, Adobe and other online shops also obtain email addresses for spamming purposes. Therefore it is recommended to avoid buying fonts from Adobe, Linotype, Monotype etc., if you use a computer that is connected to the internet. See also Prof. Luc Devroye's notes on Adobe Store Security Breach spam emails at this site http://cgm.cs.mcgill.ca/~luc/legal.html Note 1: 80% of the fonts contained in the "Adobe" FontFolio CD are non-Adobe fonts by ITC, Linotype, and others. Note 2: Most of these "Adobe" fonts do not permit of "editing embedding" so that these fonts are practically useless. Despite these serious disadvantages, the Adobe Folio OpenType Edition retails presently (March 2005) at US$8,999.00.
    [Show full text]
  • New Opentype Fonts on Folio 11
    New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf
    [Show full text]
  • Green Illusions Is Not a Litany of Despair
    “In this terrific book, Ozzie Zehner explains why most current approaches to the world’s gathering climate and energy crises are not only misguided but actually counterproductive. We fool ourselves in innumerable ways, and Zehner is especially good at untangling sloppy thinking. Yet Green Illusions is not a litany of despair. It’s full of hope—which is different from false hope, and which requires readers with open, skeptical minds.”— David Owen, author of Green Metropolis “Think the answer to global warming lies in solar panels, wind turbines, and biofuels? Think again. In this thought-provoking and deeply researched critique of popular ‘green’ solutions, Zehner makes a convincing case that such alternatives won’t solve our energy problems; in fact, they could make matters even worse.”—Susan Freinkel, author of Plastic: A Toxic Love Story “There is no obvious competing or comparable book. Green Illusions has the same potential to sound a wake-up call in the energy arena as was observed with Silent Spring in the environment, and Fast Food Nation in the food system.”—Charles Francis, former director of the Center for Sustainable Agriculture Systems at the University of Nebraska “This is one of those books that you read with a yellow marker and end up highlighting most of it.”—David Ochsner, University of Texas at Austin Green Illusions Our Sustainable Future Series Editors Charles A. Francis University of Nebraska–Lincoln Cornelia Flora Iowa State University Paul A. Olson University of Nebraska–Lincoln The Dirty Secrets of Clean Energy and the Future of Environmentalism Ozzie Zehner University of Nebraska Press Lincoln and London Both text and cover are printed on acid-free paper that is 100% ancient forest free (100% post-consumer recycled).
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • No. 3 Science and History Behind the Design of Lucida Charles Bigelow
    204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics.
    [Show full text]
  • 141 18 Survey 3 Block Books and Baroque 1450-1750.Key
    Survey 2 quiz God and Gutenberg (0-1450 CE) 2 What were early books written on before paper making techniques spread from Asia? (ca. 100-400) Thousands of years ago the Ancient Egyptians used papyrus as a writing surface for their scrolls. The Egyptians, and other civilizations also used animal skins to write on. These scraped animal skins used for writing are known as A: Parchment What do we call the fine parchment made from lamb or calf-skin that was used for very expensive books? A: Vellum One of the great qualities of parchment was that it was more opaque than papyrus, so both sides could be used for writing. More (not part of the quiz, just recapping): This membrane, made most often of sheep, or goatskin, was more opaque than papyrus, allowing scribes to write on both sides. The skins were scraped, stretched and dried (similar to the skin on a first nations drum). High quality parchment, made from calfskin, was called vellum. Unlike papyrus, this more supple material was easily folded and bound. Gradually manuscripts transitioned from scrolls to codices (singular codex): a term used to describe any ancient manuscript text in book form. These were bound books as we know them today, with folded sheets, stitched and glued along the spine. It is said that the parchment trade developed from Pergamon (now in Turkey). The city certainly became a huge production centre. Legend has it that king Ptolemy of Egypt banned papyrus export to Pergamon, in fear that the library of king Eumenes II of Pergamon would surpass his library in Alexandria.
    [Show full text]
  • LOGO STANDARDS GUIDE 1 Murray City Identity
    UPDATED August 2019 MURRAY CITY IDENTITY LOGO STANDARDS GUIDE 1 Murray City Identity TABLE OF CONTENTS INTRODUCTION . 3 LOGO GUIDELINES GENERAL CITY LOGO SIGNATURE . 5 LOGO CONSTRUCTION . 6 CITY GROUPS . 9 TYPEFACES . 13 CLEAR SPACE AND MARGINS . .14 CITY COLOR PALETTE . 15 LOGO USE . 17 LOGO APPLICATIONS FORMAL STATIONERY . 23 STATIONERY TEMPLATES . 24 ENVELOPES . 25 BUSINESS CARDS . 26 GENERAL PAPER APPLICATIONS . 27 APPAREL . 28 FIRE DEPARTMENT APPLICATIONS . 29 POLICE DEPARTMENT APPLICATIONS . 31 VINYL APPLICATIONS . 32 RETIRED LOGO’S . 33 2 I N T R O D U C T I O N Murray City is unique . Our convenient location, strong independence, accessible government, and engaged citizens all work together to create a remarkable community . Murray City will strive to maintain our unity through a distinct brand and visual identity . Graphic identity is an important part of an organization . A logo or corporate symbol represents the people and products of an organization as well as the reputation it has achieved . 3 The Murray City brand combines the rich heritage of our community with its inherently progressive nature—but more importantly, it creates a symbol which universally represents the city. The “Circle M” mark replaces a diverse array of symbols that were previously used; the overall look and feel unites all areas of city government under one powerful and sophisticated image. The Murray City brand not only enhances the image of our city, it also serves to immediately identify it. Its effectiveness depends on proper and uniform usage on everything from a business card to the door of a city truck to the literature that is sent throughout the country representing our city.
    [Show full text]
  • Georgia Vs Bodoni Y Y Y Y
    Georgia, a relatively new serif typeface, was designed in 1993 by Matthew Carter. Microsoft adopted this typeface to be the serif companion to Verdana both of which were intended to be optimally read on a digital screen. Georgia was ironically used in the branding for the 1996 Olympic Games in Atlanta, Georgia. Georgia has many similarities with Times New Roman, but its differences make Georgia much more legible in the digital format. Over 200 years ago, Giambattista Bodoni designed a classic serif typeface that has been used prevalently in design ever since. The early versions of Bodoni were considered transitional but have since been altered to be a modern Didone typeface. Giambattista Bodoni looked to the ideas of John Baskerville when designing this font. He also studied the French type founders Pierre Simon Fournier and Firmin Didot and drew inspiration from their work but ultimately found his own style of typography. Although Bodoni is said to be difficult to read in digital format, printers have acceptedk Bodoni as a beautiful and classic typeface. Although Bodoni and Georgia are separated greatly by age, the both have roots in the transitional typeface catagory. Bodoni has developed over time to be a much more modern typeface, while Georgia has stayed truer to its original design. The greatest similarities to be found between Georgia and Bodoni are when they are bold and oblique. The serifs become much more rounded. Bodoni already has proven its longevity, and in a few hundred years, Georgia may prove to as well. Southern Charm Georgia vs Bodoni y y y y.
    [Show full text]
  • Fonts & Encodings
    Fonts & Encodings Yannis Haralambous To cite this version: Yannis Haralambous. Fonts & Encodings. O’Reilly, 2007, 978-0-596-10242-5. hal-02112942 HAL Id: hal-02112942 https://hal.archives-ouvertes.fr/hal-02112942 Submitted on 27 Apr 2019 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. ,title.25934 Page iii Friday, September 7, 2007 10:44 AM Fonts & Encodings Yannis Haralambous Translated by P. Scott Horne Beijing • Cambridge • Farnham • Köln • Paris • Sebastopol • Taipei • Tokyo ,copyright.24847 Page iv Friday, September 7, 2007 10:32 AM Fonts & Encodings by Yannis Haralambous Copyright © 2007 O’Reilly Media, Inc. All rights reserved. Printed in the United States of America. Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472. O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions are also available for most titles (safari.oreilly.com). For more information, contact our corporate/institutional sales department: (800) 998-9938 or [email protected]. Printing History: September 2007: First Edition. Nutshell Handbook, the Nutshell Handbook logo, and the O’Reilly logo are registered trademarks of O’Reilly Media, Inc. Fonts & Encodings, the image of an axis deer, and related trade dress are trademarks of O’Reilly Media, Inc.
    [Show full text]
  • Recent Studies of Book Illustration and Engraving, Including Cartography, 1985–2016 This Bibliography Surveys Scholarship Publ
    Recent Studies of Book Illustration and Engraving, including Cartography, 1985–2016 This bibliography surveys scholarship published between 1985–2016 on engraving, including illustrations, prints, and emblems, as well as cartography, during the long eighteenth century (roughly 1650–1820). The focus is on Europe and the Americas, but some of Asian developments, particularly Japanese, have been included. The bibliography is most inclusive for the years 1990-2014, in consequence of my compiling studies from those years for Section 1— "Printing and Bibliographical Studies"—of the ECCB: The Eighteenth-Century Current Bibliography. A shorter version of this list without cartographic materials appeared in The East- Central Intelligencer, n.s. 15, no. 1 (January 2001), 58-77. Then an intermediate version appeared at Kevin Berland's C18-L website. During 2015–17, I expanded the list four times, with it now reaching 236 pages in typescript. The bibliography includes cartography (particularly the printed products of map-making), but excellent annual surveys of cartographic publications have been compiled by Francis Herbert, Wouter Bracke, and Nick Millea for Imago Mundi (entered under their names below). It lists dissertations and reviews for books. Focused on printed sources, it fails to note some valuable electronic sources, such as Juliette Sodt's website on illustration in botanical books, <www. library.wwu.edu/ref/subjguides/BOTILL.htm>, and many exhibition catalogues posted on the web by museums (only some recent exhibitions are included). Also, some studies in my bibliography of children’s literature at BibSite, as those on chapbooks, could also have been placed into this bibliography on engraving but were not.
    [Show full text]
  • Decree 426 BC
    Development of alphabetic letterforms 800 B.C.–Present Decree 426 B.C. detail Trajan’s Column 114 A.D. page from the Ramsey Psalter 974–986 A.D. book pages 1200’s A.D. pages from the Gutenberg Bible 1450–55 A.D. Gutenberg Press Replica pages from the Gutenberg Bible 1450–55 A.D. Hypernotomachia Poliphili 1499 Aldus Manutius De humani corporis fabrica 1543 Andreas Vesalius The Intelligencer London 1664 The Crying Mother Newsbook 1664 Romain du Roi 1695 Louis Simonneau 1654–1727 Romain du Roi 1695 Louis Simonneau 1654–1727 Romain du Roi 1695 Louis Simonneau 1654–1727 Specimen Page, 1768 Pierre Simon Fournier le Jeune 1712–1768 Mode of Music Title Page, 1756 Pierre Simon Fournier le Jeune 1712–1768 Rococo 1720–1770 The Holy Spirit 1750 Corrado Giaquinto 1703–1765 Madame de Pompadour 1759 Francois Boucher 1703–1770 The Swing 1766 Jean-Honore Fragonard 1732–1806 The Ballroom of the Catherine Palace in Tsarskoye Selo The Wies Church, Bavaria Mode of Music Title Page, 1756 Pierre Simon Fournier le Jeune 1712–1768 The Wies Church, Bavaria The Amalienburg Palace Bavaria Ornaments Page, 1771 Louis René Luce 1692–1766 Manuel Typographique 1764 & 1768 Pierre Simon Fournier le Jeune 1712–1768 A Poem On the Universal Penman 1740 George Bickham 1706–1771 Roman & Italic Specimens 1734 William Caslon 1692–1766 Title Pages for Bucolica, Georgica, et Aeneis & Paradise Regained 1757 & 1788 John Baskerville 1706–1775 A B C A. Sagio Tipografic 1771 B. Virgil Maronis 1793 C. Manuale Tipografico 1818 Giambattista Bodoni 1740–1813 Giambattista Bodoni 1740–1813 The French Revolution & Neoclassicism 1770–1830 Oath of the Horatii 1784 Jacques-Louis David 1744–1825 Death of Marat 1793 Jacques-Louis David 1744–1825 Marius at Minturnae 1786 Jean Germain Drouais 1763–1788 Regent's Park, London The Grand Palace: la maison des ducs de brabant Somewhere in the U.K.
    [Show full text]