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Kemble Z3 Ephemera Collection
http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research. -
1340038W CIA Dayton Legal Blank-4 8/30/13 11:21 AM Page 1
See Instructions on Page 2 To Become a Qualified Bidder on the Internet Plant Closed 1340038W CIA Dayton LegalLARGELARGE Blank-4 BALLOTBALLOT 8/30/13 11:21ANDAND AM TICKETINGTICKETING Page 1 PRINTERPRINTER // NUMBERINGNUMBERING FACILITYFACILITY INCLUDINGINCLUDING XIEKONXIEKON DIGITALDIGITAL WEBWEB PRESSES,PRESSES, OFFSETOFFSET PRESSES,PRESSES, FINISHINGFINISHING ANDAND SUPPORTSUPPORT EQUIPMENTEQUIPMENT DAYTONDAYTON LEGALLEGAL BLANK,BLANK, INC.INC. 875 Congress Park Drive – Dayton, Ohio 45459 On The Southside of Downtown Dayton INSPECTION: TUESDAY, SEPT. 17TH, FROM 10:00 AM TO 4:00 PM SALESALE DATE:DATE: WEDNESDAY,WEDNESDAY, SEPT.SEPT. 18TH,18TH, STARTINGSTARTING ATAT 9:009:00 AMAM AUCTIONEERS| [email protected] | cia-auction.com INDUSTRIAL | since 1961 | appraisers Sale Under The Management Of CINCINNATI auctioneers 2020 Dunlap St., Cincinnati, Ohio 45214 Phone 513-241-9701 Fax 513-241-6760 1340038W CIA Dayton Legal Blank-4 8/30/13 11:22 AM Page 2 WEDNESDAY, SEPT. 18TH – 9:00 AM NEW NEW 1998 NEW 1998 2005 17.75” X 22.75” Sakurai Model Oliver-258EP2Z Two- 20.5” X 28.75” Sakurai Model Oliver-272EP2 Two- (2) Xeikon Model 5000 5/5 Five Color Web Digital Color Offset Printing Press w/ Perforating, Scoring Color Offset Printing Press w/ Perforating, Presses and Numbering Attachment Scoring and Numbering Attachment DIGITAL PRESSES HB408998, Sakurai Digital Control, DIE CUT, PERF, SCORE, Width, 19.68”-78.74” Min. (2) Xeikon Model 5000 5/5 4,000 - 12,000 IPH Printing Speed, & NUMBERING Processing Speed (New 2008) Five Color Web Digital Presses; -
Wlatioia AUG 12195 7 a STUDY of the TYPOGRAPHIC
,.., WLAtiOIA Ali!Ctll. VUIAL &. MECHANICAL ctll.1111 LIBRARY AUG 12195 7 A STUDY OF THE TYPOGRAPHIC AND PRODUCTION DEVELOPMENTS .IN THE. GRAPHIC ARTS AS THEY ARE.APPLICABLE TO STUDENTS IN A BEGINNING COURSE FOR A MAGAZINE AND.NEWSPAPER CURRICULUM By JOHN BEECHER THOMAS Bachelor of Science University of Missouri Columbia, Missouri 1955 Submitted to the faculty of the Graduate School of the Oklahoma Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE May 9 1957 383191 A STUDY OF THE TYPOGRAPHIC AND PRODUCTION DEVELOPMENTS IN THE GRAPHIC ARTS AS THEY ARE APPLICABLE TO STUDENTS IN A BEGINNING COURSE FOR A MAGAZINE AND NEWSPAPER CURRICULUM Thesis Approvedg ~e~Ae.r L ' Dean of the Graduate School TABLE OF CONTENTS Chapter Page Io HISTORY OF PRINTING l Words and the Alphabet 0 0 l Paper • • • O O 0 4 Type 7 Press 10 IIo PRINTER'S SYSTEM OF MEASUREMENT 14 Point. o· 14 Agate • o. 15 Ems and Ens 15 IIIc. PRINTING TYPES • 17 Anatomy of Foundry Type • 0 17 Classification 0 17 Type Fonts 0 0 0 24 Series 0 0 24 Family 0 24 IVo COMPOSING AND TYPE MACHINES 0 0 26 Linotype and Intertype Machines 0 26 Mono type • • 27 Ludlow and All=Purpose Linotype • 28 Fotosetter • 0 28 Photon 29 Linof'ilm 0 0 30 Filmotype • 0 30 Typewriters • 31 Ar type Go O O 0 32 Vo REPRODUCTION OF ILLUSTRATIONS 33 Techniques 0 34 Color Separation 0 .. 35 Methods of' Producing Plates 0 0 0 36 Duplicate Pr~nting Plates 37 VI. -
The Private Press Tradition in Lexington, Kentucky
The Kentucky Review Volume 11 | Number 3 Article 2 Fall 1992 The rP ivate Press Tradition in Lexington, Kentucky Burton Milward Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the United States History Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Milward, Burton (1992) "The rP ivate Press Tradition in Lexington, Kentucky," The Kentucky Review: Vol. 11 : No. 3 , Article 2. Available at: https://uknowledge.uky.edu/kentucky-review/vol11/iss3/2 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. The Private Press Tradition in Lexington, Kentucky Burton Milward The history of printing extends far into Lexington's past, beginning on 11 August 1787 when John Bradford, a versatile man with no previous printing experience, produced the first issue of The Kentucke Gazette.1 Kentucky then was a part of Virginia and would not become a state for five years. The town of Lexington was but eight years old, and it had fewer than 500 residents. Nevertheless, the people of Lexington and of Kentucky were hungry for news and for books. In January of the next year, 1788, Bradford advertised books for sale at the Gazette office-"Spelling books, ABC, books with the shorter catechism," and Poor Will's Almanac for 1788. In the fall and winter of that year, a half-dozen Lexington merchants advertised for sale extensive stocks of books, imported from Philadelphia, as were practically all the goods they sold. -
Introduction to Letterpress Printing 2/18/10 1:33 AM
Introduction to Letterpress Printing 2/18/10 1:33 AM Revision: October 1, 2005* INTRODUCTION TO LETTERPRESS PRINTING IN THE 21ST CENTURY by David S. Rose / Five Roses Press / New York, NY Welcome • Executive Summary • Letterpress Printing and Printers • Internet Mailing Lists • National and Local Printing Groups • Online Resources • Print Resources • Classes and Academic Programs • Printing Museums • Letterpress Printing Manuals • Design and Book Arts Manuals • Acquiring Books and Manuals • Letterpress Equipment • Choosing a Press • Letterpress Dealers • Accessories and Supplies • Letterpress Printing Suppliers • Paper and Papermaking • Bookbinding • Printing Type • Type Casting • Links • Copyright and Permissions Letterpress printing was featured earlier this year on ABC-TV's hit show Extreme Makeover: Home Edition. As part of the complete construction of a new home for a deserving family in only seven days, letterpress printers from across the country donated a complete letterpress studio to 12-year old Aariel Dore, and you can see clips from the show and read the whole story behind the show right here!. Welcome ...to the wonderful world of letterpress printing! To start you on your way in this exciting, challenging, rewarding and anachronistic avocation, what follows is an introduction, freshly prepared for the start of the new millennium and updated to 2005, to the people, places, and online resources that will save you a great deal of time as you embark upon your letterpress activities. At the end of the document are links to dozens of other sites, many of which themselves contain links to hundreds of additional sites related to letterpress printing. Executive Summary (for those who don't want to have to read this whole page) Read Crane's quick overview of letterpress printing. -
Apha Indesign
· Conference Report · APHA Newsletter 0 Winter 0 Lecture by On the Digital Brink P N APHA’ A C Cosponsored with BSA e editors thank the APHA members who have January , kindly allowed themselves to be strong-armed into See details under writing the accounts of the conference talks which Calendar follow, strung together with narrative by Jane Siegel. · — · A M Newsletter happy APHA members attended Number th January, the annual conference held this year in Rochester, Winter New York. e weather was quite beautiful, confounding in the Trustees Room those who expected to find winter weather and snows. of the Apparently, the “digital” in the title, while it worried New York Public Library some of the purer historical souls, encouraged a broad mix of attendees. e wide range of designers, typogra- phers, printers, professors, librarians and printing afici- Logo Competition onados encouraged a weekend crammed with intriguing I commend to members the following report on the logo conversation spurred by stimulating talks and exhibits. competition. It underscores the serendipitous joys of F, O finding printing history devotees of many backgrounds ‘e Voice in the Mirror’ In his keynote address in our midst. – Irene Tichenor Robert Bringhurst used as a recurring reference point A L A, of the Morgan Library, former editor three paintings by Vittore Carpaccio, done in the of Printing History, and Mark Batty, former head of beginning of the th century in a hall established by the Intertype Corporation, joined me in judging the entrants Slovenian enclave in Venice, the Scuola degli Schiavoni. in the APHA logo competition. -
VISIBLE LANGUAGE Volume V, Number 2, Spring 1971
VISIBLE LANGUAGE Volume V, Number 2, Spring 1971 101-110 Linguistic Features of Scribal Spacing Virginia J. Cyrus 111- 124 The Use ofthe Hyphen in Printing to Indicate Divided Words F. M. O'Hara, Jr. 125- 144 Automated Reading of the Printed Page Donald E. Troxel 145- 157 Vocalism in Silent R eading Donald L. Cleland 159- 188 Durability of Fifteenth-century Type Michael Pollak 189- 191 Abstracts of J ournal Articles in French and German 192 The Authors COVER: An ultra-violet p hotograph of the verso (hair side) of a parchment palimpsest fragment showing both the original Greek uncial writing of Plato's Parmenides 152D, and the later rude Coptic writing on top. The fragment, recently discovered by Dr. William H. Willis of Duke University, has been identified as dating from the second century A .D., probably before A.D. 150. Coming between known second-century writings of Greek authors on papyrus and fourth-century biblical codices, it is considered to be an important link in the evolution of the book in Western literature. Photograph by H endrik A. van Dijk,J r., Duke Medical Center. Additional information on the parchment fragment is given on page 144. Visible Language, Volume V, Number 2, Spring 1971. Published quarterly (Winter, Spring, Summer, and Autumn) by Visible Language, cfo The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. Copyright © 1971 by Visible Language. Dr. Merald E. Wrolstad, Editor and Publisher cfo The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. ADVISORY BOARD Dr. Roland Barthes, Ecole Pratique des Hautes Etudes, Paris Fernand Baudin, Bonlez par Grez-Doiceau, Belgium Pieter Brattinga, Form Mediation International, Amsterdam Will Burtin, New York City Rev. -
Arabic Hot Metal: the Origins of the Mechanisation of Arabic Typography
Arabic hot metal: the origins of the mechanisation of Arabic typography Article Accepted Version Nemeth, T. (2018) Arabic hot metal: the origins of the mechanisation of Arabic typography. Philological Encounters, 3 (4). pp. 496-523. ISSN 2451-9197 doi: https://doi.org/10.1163/24519197-12340052 Available at http://centaur.reading.ac.uk/87152/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.1163/24519197-12340052 To link to this article DOI: http://dx.doi.org/10.1163/24519197-12340052 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Arabic Hot Metal The origins of the mechanisation of Arabic typography In the 1870s, Ottmar Mergenthaler (1854–1899), a German émigré to the United States, began to investigate and develop machines to facilitate typographic composition and justification – a goal that was pursued with mixed results by inventors for most of the nineteenth century.1 After a prolonged phase of trial and error, by 1886 the first functional machine was put to use at the New York Tribune newspaper, heralding the era of mechanised typesetting.2 The machine Mer- genthaler had developed, and its revolutionary concepts, transformed the practice of typogra- phy. -
David Hebrew the First Multi-Style Hebrew Typeface Family by Ismar David
David Hebrew The first multi-style Hebrew typeface family by Ismar David Shani Avni The document was designed and formatted by Shani Avni. The Hebrew text in the correspondence, books and articles was translated by the author unless stated otherwise. Images sources are provided in the sources list. Original size indication is provided in the images captions when available. Images provided by the RIT Cary Graphic Arts Collection are not be used or deposited in another library, archive, or repository without the permission of the RIT Cary Graphic Arts Collection. Images from the Spitzer archive are the courtesy of Amitay Spitzer and Ada Wardi and not to be used without their permission. © 2017 Shani Avni. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical without written permission from the author. David Hebrew The first multi-style Hebrew typeface family by Ismar David Shani Avni Dissertation submitted in partial fulfilment of the requirements for the Master of Arts in Typeface Design, Department of Typography and Graphic Communication, University of Reading, 2016. Abstract Ismar David initiated the design of his comprehensive Hebrew typeface family in Jerusalem, in the 1930s. It is considered to be the first Hebrew multi-style family and consists of nine variations that show many innovative features that were never seen in earlier designs. Starting with a historical overview of the typographic environment in the state of Israel around the time it is was declared in 1948, this dissertation looks into the means of design and production of printed matter needed for the construction of a new nation. -
Sa Chronology Of
s A Chronology of Typographical Pantographs Dr. David M. MacMillan Abstract The history of the development and use of pantographic techniques in the making of metal printing type has never been recounted either com- prehensively or accurately. This is a first step, necessary but necessarily incomplete: a raw chronology of events, together with references to the sources of our knowledge. 1 ◆ Introduction While it is beyond question that the mechanization of the making of punches, patrices, and matrices for metal letterpress printing types in the late 19th century was one of the most important events in the history of type, most accounts of this are inadequate. They tend to oversimplify both history and technology and to reduce a complex technological transition to a myth of a lone genius. Moreover, most narratives today are seriously in- accurate in their details and their understanding of the technologies. They conflate different methods of type-making and often leave out important methods entirely. As a result, this is perhaps the least well understood of all of the technological transformations that have shaped our world. This chronology is not a complete analysis of this history; it’s justa first step. It lays out all of the presently known events in this history in order to provide a better, and better documented, context. It also identifies events which are still recounted as a part of this history but which never really happened. This Chronology also includes non-typographical pantographs, partic- ularly in its early sections. The purpose of this is to counter the tendency in typographical history to see the adaptation of pantographic technology to metal type-making as something that happened in isolation. -
GIPE-094957-Contents.Pdf
THE PRACTICE OF PRINTING William CaxtoD ID Weatmlneter Abbey, ohowinli the ftrat prlntin1 done In En11lond to Klnr Edward IV, the QueeD, and Membero of the Court, Reproduced from & oteel anamvlniP bv F_ Bmml•v In th• Tvnn~Nnhln LlbPIU'V and Muaeum of tbe American TYoe Foundillll ComllaDY. Joraey CIIY. N.J. THE PRACTICE OF PRINTING BY SUPERVISOR OF PRINTING INSTRUCTION · DETROIT PUBLIC SCHOOLS THE MANUAL ARTS PRESS PEORIA. ILLINOIS Copyright, 1945 Copyright, 1937 Copyright, 1926 by Ralph W. Polk No part of this book may be reproduced in any form without the permission ot the publisher 114K710 This volume is handset by the author in Caston and Century types PREFACE THERE is an urgent need in th~ printing industry for young craftsmen who are properly trained in the science of printing, and who are acquainted with the details of the basic operations of the trade. It is in answer to that need that this book has been developed. Our purpose has been to select and arrange such material as will be most helpful to the student of printing, whether in the school printshop, or in the apprentice department of the commercial printing plant. The book will be found to contain reliable informa tion and instruction on the various trade processes that are commonly considered as essential to a complete and well rounded apprentice training in typography. The material :which comprises the text is in no sense in a theoretical or experimental stage. Each chapter has been perfected from practical lesson material which has been successfully used in regular classes, and after taking its present page form, it has been again subjected to the test of regular class procedure. -
Press Ephemera Collection Scope and Content Note
Special Collections 401 Ellis Library Columbia, MO 65201 (573) 882-0076 & Rare Books [email protected] University of Missouri Libraries http://library.missouri.edu/specialcollections/ Press Ephemera Collection Scope and Content Note The collection contains material on private and specialty presses, dating primarily from the 1980s to the present. Many items in the collection are prospectuses and offerings of new books by the presses. The items are often specially printed on unusual and handmade papers or with special printing techniques. The Press Ephemera Collection is intended as a supplement to published works held in MU Libraries. Examples can be found by searching MERLIN using the name of the press as the author. Conditions of Use Access Materials do not circulate but are available to all users in the Special Collections Reading Room during service hours or by appointment. Collection Details The collection is in alphabetical order by press. Unknown presses are listed first. Press unknown and miscellaneous • Keepsake card with quotation from Abraham Lincoln, January 1, 1951. Schlosser Paper Corporation. • Greeting card, “Greetings from the Home & the Heart of the Golds.Cote d’Or in the Adirondacks.” • Booklet, Responsibility: A Sermon, by Daniel Russell. 20 March 1938. • Keepsake, “Oh! If There Were No Printers” by E.M. Heist, for Printing Week, 15-21 January 1950. • Keepsake, “Psalm to a Taxpayer,” printed by the Congressional Record (?). • Booklet, Printing: Uninhibited. An exhibition of work done in: Barns, Cellars, Bedrooms, Attics, and Other Unlikely Places. Boston, New York, Los Angeles, and San Francisco, 1953. • Announcement, Printing as an Art: A History of the Society of Printers, Boston 1905-1955 by Ray Nash.