Morris Fuller Benton, Type Designer — Fact Or Fiction? PAGE 10
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Garamond and the French Renaissance Garamond and the French Renaissance Compiled from Various Writings Edited by Kylie Harrigan for Everyone Ever
Garamond and The French Renaissance Garamond and The French Renaissance Compiled from Various Writings Edited by Kylie Harrigan For Everyone ever Design © 2014 Kylie Harrigan Garamond Typeface The French Renassaince Garamond, An Overview Garamond is a typeface that is widely used today. The namesake of that typeface was equally as popular as the typeface is now when he was around. Starting out as an apprentice punch cutter Claude Garamond 2 quickly made a name for himself in the typography industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how much of an influence he was. He has his typefaces, typefaces named after him and typeface based on his original typefaces. As a major influence during the 16th century and continued influence all the way to today Claude Garamond has had a major influence in typography and design. Claude Garamond was born in Paris, France around 1480 or 1490. Rather quickly Garamond entered the industry of typography. He started out as an apprentice punch cutter and printer. Working for Antoine Augereau he specialized in type design as well as punching cutting and printing. Grec Du Roi Type The Renaissance in France It was under Francis 1, king of France The Francis 1 gallery in the Italy, including Benvenuto Cellini; he also from 1515 to 1547, that Renaissance art Chateau de Fontainebleau imported works of art from Italy. All this While artists and their patrons in France and and architecture first blossomed in France. rapidly galvanised a large part of the French the rest of Europe were still discovering and Shortly after coming to the throne, Francis, a Francis 1 not only encouraged the nobility into taking up the Italian style for developing the Gothic style, in Italy a new cultured and intelligent monarch, invited the Renaissance style of art in France, he their own building projects and artistic type of art, inspired by the Classical heritage, elderly Leonardo da Vinci to come and work also set about building fine Renaissance commissions. -
PHASE 3: Year 8 Typography Work from Home Tasks
PHASE 3: Year 8 Typography Work from home tasks: Task: What is typography? – double research page Typography Task 1: Definitions: What is typography? • Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement Complete a title of type involves selecting typefaces, point size, line length, line-spacing page/research page over (leading), letter-spacing (tracking), and adjusting the space within letters pairs a double page (kerning). Include: • A typographer is a person who designs the form and arrangement of type to • Definition make the written word more legible and aesthetically pleasing. Such a person • History of typography might design a font, or define the point size, kerning, and other characteristics • Facts about typography of a typeface • Categories of typography Decorate the page using typography and colour Typography timeline: 1400’s: Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible. 1501: Aldus Manutius created italics – a way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing. 1757: John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines. 1816 William Caslon IV created the first typeface without any serifs at all. -
Image Carrier Poster
55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890. -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
A Typeface History
The Evolution of Typefaces 1440 The printing press is invented by Johannes Gutenberg, using Blackletter typefaces. 1470 More readable Roman Type is designed by Nicolas Jenson, combining Italian Humanist lettering with Blackletter. 1501 Aldus Manutius and Francesco Grio create the first italic typeface, which allows printers to fit more text on each page. 1734 William Caslon creates what is now known as “Old Style” type, with more contrast between strokes. 1757 John Baskerville creates Transitional typefaces, with even more contrast than Old Style type. 1780 The first “modern” Roman typefaces—Didot and Bodoni—are created. 1815 The first Egyptian, or Slab Serif, typeface is created by Vincent Figgins. 1816 The first sans-serif typeface is created by William Caslon IV. 1916 Edward Johnston designs the iconic sans-serif typeface used by London’s Underground system. 1920 Frederic Goudy becomes the first full-time type designer, and creates Copperplate Gothic and Goudy Old Style, among others. 1957 Helvetica is created by Max Miedinger. Other minimalist, modern sans-serif typefaces, including Futura, emerge around this time. 1968 The first digital typeface, Digi Grotesk, is designed by Rudolf Hell. 1974 Outline (vector) fonts are developed for digital typefaces, resulting in smaller file sizes and less computer memory usage. Late 1980s TrueType fonts are created, resulting in a single file being used for both computer displays and output devices such as printers. Windows Macintosh 1997 Regular fonts plus variants Regular fonts plus variants Open Type fonts are invented, which allow for cross-platform use on Macs and PCs. Open Type 1997 CSS incorporates the first-ever font styling rules. -
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS 310 Delaware Street, New Castle, DE 19720
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Oak Knoll Books has handled many examples of type specimen catalogues over the years. One would think that interest in old books showing type faces would have gone by the wayside long ago but nothing could be further from the truth. I was recently give a book by Tony Cox, a bookseller friend of mine, for bedside reading while I was visiting him in England and found the stories of type and their development fascinating (Simon Garfield. Just My Type). For those of you who have seen the film Helvetica you can relate to the impact type faces have on our lives. We are now offering you a selection of interesting specimen books and booklets that might inspire those of you doing design work or educate those of you that are doing research. And go back and reread McGrew’s American Metal Type Faces of the 20th Century and Annenberg’s Type Foundries of America and Their Catalogues (both Oak Knoll Press publications) for their invaluable information (see last page of our catalogue for more details). Happy hunting! Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. -
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project. -
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. -
American Type Founders Typefaces Notes for ATF Typefaces Spreadsheet Version 4 (Mar
American Type Founders Typefaces Notes for ATF Typefaces spreadsheet version 4 (Mar. 2009): * This listing is provided by the American Amateur Press Association. Please visit our Web site at http://www.aapainfo.org * The ATF ID numbers are from Mac McGrew's American Metal Typefaces of the Twentieth Century . * 10 ATF catalogs identified by the year printed (plus 1909, 1917, and 1941 supplements) are listed in the spreadsheet * The "BBS25" column lists faces in Barnhart Brothers & Spindler catalog 25 (1925). BB&S was purchased by ATF about 1911 and it operated independently until about 1930. BB&S ID#s are 1500 through 1942. * The entries for each catalog are the page numbers the typefaces appear on. * A brown italic page number indicates a slightly different name was used in the 1897 or 1899 catalog. For example, Cushing No. 2 appears as Cushing in the early catalogs. (Adding or changing a number usuallly indicates the typeface was realigned for the point system.) * An "s" appears before a page refers to a supplement; "s" alone if the face was issued subsequently. * The "McG" column gives the page number where the typeface is discussed in McGrew's book. * ATF ID#s 807 - 944 are for faces acquired with Keystone Type Foundry. * If a typeface was reissued under a different name, that name appears {within braces} and has its own entry. * Corrections and additions are encouraged. Send e-mail to [email protected] or write to David M. Tribby, 1529 Fantail Ct., Sunnyvale, CA 94087 Name ID # 1897 1899 1903 06/09 12/17 1923 BBS25 1934 1941 -
Robert Wiebking Geboren 1870 in Schwelm, Gestorben Am 25
Robert Wiebking Geboren 1870 in Schwelm, gestorben am 25. Juni 1927 in Chicago. Er kommt 1881 mit seinem Vater Hermann Wiebking, einem Graveur, in die USA. 1884 Graveurlehre in Chicago. Seit 1892 selbständiger Stem- pelschneider in Chicago. Verbessert die Matrizengraviermaschine, die sein Vater bereits in Deutschland entwickelte. 1900 gründet er die Advance Type Foundry. 1914 wird sie mit der Western Type Foundry fusioniert und 1919 von Barnhart Bros. & Spindler übernommen. Schnitt Schriften für Frederic W. Goudy, Bruce Rogers und Robert H. Middleton. Goudy und Middleton lernten bei ihm das Stempelschneiden. Advertisers Gothic 1917 Western Type Foundry www.myfonts.com Advertisers Gothic Cond. 1917 Western Type Foundry Advertisers Gothic Outline 1917 Western Type Foundry Advertisers Gothic Out. Cond. 1917 Western Type Foundry Artcraft 1911 Western Type Foundry Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Artcraft Italic 1912 Western Type Foundry Artcraft Bold 1913 Western Type Foundry Linotype zuerst Craftsman bei Advance Type Foundry http://www.klingspor-museum.de Baron’s Boston Newsletter* 1904 Corporate Font Bodoni Light 1923 Ludlow Bodoni Light Italic 1923 Ludlow Bodoni Bold 1925 Ludlow Bodoni Bold Italic Ludlow Caslon Catalog Advance Type Foundry Caslon Clearface 1913 Western Type Foundry Caslon Clearface Italic 1913 Western Type Foundry Caslon Light Italic 1922 Barnhart Bros.&Spindler Centaur* 1914 Metropolitan Museum Linotype Collier Old Style* 1919 Corporate Font Engravers Litho Barnhart Bros.&Spindler -
Morris Fuller Benton Geboren Am 30
Morris Fuller Benton Geboren am 30. November 1872 in Milwaukee, Wisconsin, gestorben am 30. Juni 1948 in Morristown, N.Y. Sohn von Linn Boyd Benton. Graduiert 1896 zum Ingenieur und wird der Assistent seines Vaters bei der American Type Founders Company (ATF) in New Jersey. 1898 erste Schriftentwürfe. Später auch künstlerischer Leiter der ATF. Adscript 1914 American Type Founders Agency Gothic 1933 American Type Founders www.myfonts.com ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Agency Gothic Open 1934 American Type Founders www.myfonts.com ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Alternate Gothic 1-6 1903 American Type Founders www.myfonts.com ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Alternate Gothic 2-7 1903 American Type Founders www.myfonts.com ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Alternate Gothic 3-8 1903 American Type Founders www.myfonts.com http://www.klingspor-museum.de American Backslant 1934 American Type Founders sollte zuerst Backhand Gothic heißen American Text 1932 American Type Founders Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Announcement 1917 American Type Founders Linotype* ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Announcement Italic 1917 American Type Founders Linotype* *hier Odette genannt ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antique Shaded 1920 American Type Founders Bank Gothic Light 1930 American Type Founders Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Bank -
„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.