Chapter 7 – Renaissance Graphic Design
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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. -
X Garamond & His Famous Types
x Garamond & His Famous Types HENRY LEWIS BULLEN Ahistor y very interesting to all who may be benefited through the use of printing. t is a par t of the glory of French artthat two type designs that areadmittedly masterpieces beyond competition werecreated byFrench- men. These creations havehad a decisiveinflu- ence on subsequent type designers, and though four hundred and fifty years havepassed since the first use of one of these designs, and three hundred and seventy- fivesince the first use of the other,both of them in their original models arenow morepopular and moregenerally used than in any previous period. The earliest of these master designers was Nicolas Jenson, who first used his famous Roman types in Venice in 1470.But we are heremoreconcerned with the second master,Claude Gara- mond of Paris, in whose honor this book is issued and in reproduc- tions of whose famous Roman and Italic type designs it is composed, that those who read herein may better understand their merits. Original steel punches and copper matrices made and used by Garamond, some time beforehis death in 1561,are now the proper ty of the French nation, and areincluded as an item in the great asset of the national arts which French governments, whether royal, imperial or republican in form, haveinvariably honoured and protected. These implements and the types cast bymeans of them arekept in a special ‘Garamond & His Famous Types’ was originally published in An Exhibit of Garamond Type with Appropriate Ornaments. Being the third of a series of books showing the many beautiful types in the composing room of Redfield- Kendrick-Odell Co., Printers & Map Makers (Redfield-Kendrick-Odell Co.: Ne w York, 1927). -
Gazette of the Grolier Club
GAZETTE OF THE GROLIER CLUB Number 4—N ovember, 1922 CONTENTS Honorary Membership.—A Bequest to the Club.— The House.—The Blake Bibliography.—Publication Com- mittee Notes.—The Library.—Exhibitions.—Machiavelli on Books. —Adam von Bartsch. —Early Printed Books, Part 11. —A Bibliographical Study of Robert Browning’s'Paracelsus, Part I. Honorary Membership. -At the October meeting of the Council, Geoffrey Keynes, author of the “Bibliog- raphy of William Blake,” lately published by the Grolier Club, was elected an Honorary Foreign Cor- responding member of the Club. A Bequest to the Club. -One of the chief interests of the late Hamilton B. Tompkins was the collection of prints suitable for extra-illustrating “Franklin in France” by Edward E. Hale and Edward E. Hale, Jr. 74 In his will he bequeathed the work, which he had en- larged to six volumes, to the Club, together with a sum of money for binding it suitably. The books have recently arrived and, as soon as they have been bound, will be on exhibition in the Library. They will be greatly valued, not only as an important possession, but as a token of the donor’s regard and thought for the Club. Mr. Tompkins had been a member since 1887. The House. Beyond a rearrangement of the Books in the Library and Print Room, the replacing of the descriptive labels for the Club’s collection of Bindings and the usual cleaning, there have been other im- provements during the summer. The walls and ceil- ings of the Club Room have been thoroughly cleaned and the ceilings of the Hall and Librarian’s room have been recalcimined. -
Adobe Garamond Pro
Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated. -
Greek Type Design Introduction
A primer on Greek type design by Gerry Leonidas T the 1997 ATypI Conference at Reading I gave a talk Awith the title ‘Typography & the Greek language: designing typefaces in a cultural context.’ The inspiration for that talk was a discussion with Christopher Burke on designing typefaces for a script one is not linguistically familiar with. My position was that knowledge and use of a language is not a prerequisite for understanding the script to a very high, if not conclusive, degree. In other words, although a ‘typographically attuned’ native user should test a design in real circumstances, any designer could, with the right preparation and monitoring, produce competent typefaces. This position was based on my understanding of the decisions a designer must make in designing a Greek typeface. I should add that this argument had two weak points: one, it was based on a small amount of personal experience in type design and a lot of intuition, rather than research; and, two, it was quite possible that, as a Greek, I was making the ‘right’ choices by default. Since 1997, my own work proved me right on the first point, and that of other designers – both Greeks and non- Greeks – on the second. The last few years saw multilingual typography literally explode. An obvious arena was the broader European region: the Amsterdam Treaty of 1997 which, at the same time as bringing the European Union closer to integration on a number of fields, marked a heightening of awareness in cultural characteristics, down to an explicit statement of support for dialects and local script variations. -
SOKOL BOOKS LTD • LIST for the NEW YORK ANTIQUARIAN BOOK FAIR 3Rd - 6Th APRIL 2014 BOOTH NUMBER: A14
SOKOL BOOKS LTD • LIST FOR THE NEW YORK ANTIQUARIAN BOOK FAIR 3rd - 6th APRIL 2014 BOOTH NUMBER: A14 Park Avenue Armory, 643 Park Avenue, New York, NY 10065 Email: [email protected] Website: www.sokol.co.uk FAIR OPENING TIMES: Preview: Thursday 3rd April • 5-9pm Friday 4th April • 12pm - 8pm Saturday, 5th April • 12pm - 7pm Sunday, 6th April • 12pm - 5pm And do visit our shop in Chelsea at: 239A Fulham Road London SW3 6HY ... where we offer both our customary early books and a wider antiquarian stock. Opening times: Tuesday - Saturday, 11am - 7pm. Office telephone number: 0207 499 5571 Shop telephone number: 0207 351 5119 We wish to purchase English and European books & manuscripts before 1640, later collections (large or small) and interesting or unusual maps, prints, pictures and artefacts. AUTHOR TITLE PLACE PUBLISHER DATE STOCK_ PRICE HEADER NO ACCOLTI, Pietro Lo Inganno de gl'Occhi Florence Pietro Cecconcelli 1625 L822 $25,000.00 17thC SPANISH CRIMSON MOROCCO GILT. AESOP Vita & Fabulae… Venice Apud Aldum 1505 L1283 $100,000.00 AESOP Aesopus moralistus n.pl., n.pr. [Johannes 1497 L1731 $16,000.00 WITH EXTENSIVE INTERLINEAR [Augsburg] Schönsperger] COMMENTARY AGRICOLA, De re metallica libri XII. Basel Hieronymus Froben 1561 L1730 $21,000.00 IN USE AFTER 400 YEARS Georgius ALESSIO The secretes of the reuerend Maister London London, by Ronland Hall, for 1562 L1633 $10,000.00 RARE AND VALUABLE Piemontese. Alexis of Piemont. Nycolas England COLLECTION [RUSCELLI Girolamo] ALPINI, Prospero De medicina Aegyptiorum Venice Francesco de Franceschi 1591 L888 $8,500.00 ONE OF THE EARLIEST EUROPEAN STUDIES OF NON- WESTERN MEDICINE ALVERNUS, De fide De legibus [Augsburg] [Günther Zainer] 1475 L1342 $23,000.00 ESOTERICA, SEX & DEMONS Guillelmus [ANONYMOUS] CLOSET for Ladies and London Printed by John Hauiland 1627 L1415 $8,000.00 UNUSUALLY WELL PRESERVED Gentlevvomen. -
Garamond Libre
Garamond Libre Daniel Benjamin Miller∗ Bob Tennent† version 1.4 May 3, 2020 Introduction Garamond Libre is a free and open-source old-style font family. It is a “true Garamond,” i.e., it is based off the designs of 16th-century French engraver Claude Garamond (also spelled Garamont). The Roman design is Garamond’s; the italics are from a design by Robert Granjon. The upright Greek font is after a design by Firmin Didot; the “italic” Greek font is after a design by Alexander Wilson. The font family includes support for Latin, Greek (monotonic and polytonic) and Cyrillic scripts, as well as small capitals, old-style figures, superior and inferior figures, historical ligatures, Byzantine musical symbols, the IPA and swash capitals. The fonts are an extended fork based on designs by George Douros. Garamond Libre is based on George Douros’ text fonts project. The sources on which these fonts are based were released by their author as free for any use. The Type 1 versions of the fonts were created using cfftot1. The support files were created using autoinst and otftotfm and are licensed under the terms of the LATEX Project Public License. ∗dbmiller at dbmiller.org †rdt at cs.queensu.ca 1 Licensing The OpenType fonts are released under the X11/MIT license and are Copyright © 2019–2020 by Daniel Benjamin Miller. Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Soft- ware”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be in- cluded in all copies or substantial portions of the Software. -
A Lathe and the Material Sphaera
Edinburgh Research Explorer A lathe and the material sphaera Citation for published version: Oosterhoff, R 2020, A lathe and the material sphaera: Astronomical technique at the origins of the cosmographical handbook. in M Valleriani (ed.), De Sphaera of Johannes de Sacrobosco in the Early Modern Period: The Authors of the Commentaries. Springer, pp. 25-52. https://doi.org/10.1007/978-3-030- 30833-9_2 Digital Object Identifier (DOI): 10.1007/978-3-030-30833-9_2 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: De Sphaera of Johannes de Sacrobosco in the Early Modern Period General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 Chapter 2 A Lathe and the Material Sphaera: Astronomical Technique at the Origins of the Cosmographical Handbook Richard J. Oosterhoff Abstract Even though cosmographers loved to drape their discipline in the ancient dignity of Ptolemy, actual manuals of cosmography often depended on Johannes de Sacrobosco’s medieval introduction to spherical astronomy. -
Finding Aid to the Grabhorn Letterpress Printing Ephemera Collection
Finding Aid to the Grabhorn Letterpress Printing Ephemera Collection Finding Aid by: Samantha Cairo-Toby Finding Aid date: November 2018 Book Arts & Special Collections San Francisco Public Library 100 Larkin Street San Francisco 94102 (415)557-4560 [email protected] Summary Information: Repository: Book Arts & Special Collections Creator: Grabhorn, Robert Title: Finding Aid for the Grabhorn Letterpress Printing Ephemera Colletion Finding Aid Filing Title: Grabhorn Letterpress Printing Ephemera Collection ID: BASC 1 Date [inclusive]: 950 CE-2018 (bulk 1890-2018) Physical Description: 230.4 linear feet (300 boxes) Physical Location: Collection is stored on site. Language of Material: Collection materials are primarily in English, but includes French, German, Dutch, Italian, Latin, Welsh, Russian, Greek, Spanish, and Chinese. Abstract: The collection contains ephemeral materials printed with metal or wood type using a letterpress. Ephemeral materials include: prospectuses, notices, fliers, postcards, broadsides, bookmarks, chapbooks, pamphlets and small books/accordion fold books. The collection dates range from 950 CE (China) to present, with the bulk of the collection ranging from 1890 CE to present. Additions to the Collection are ongoing. The earliest printed materials in the collection come from China and Europe, but the bulk of the collection is from California and the United States of America printed in the 20th century. Preferred Citation: [Identification of item/Title of folder], Grabhorn Letterpress Printing Ephemera Collection (BASC 1), Book Arts & Special Collections, San Francisco Public Library. Custodial History: Ephemera has been part of Book Arts & Special Collections since 1925 when William Randolph Young, a library trustee, was instrumental in establishing the Max Kuhl Collection of rare books and manuscripts, after the destruction of the Library’s collection in the 1906 earthquake and fire. -
BO-Does-CEM-Wooooooh-2-In-1-Wooooooh1.Pdf
02 RISD 03 2014 RISD 2014 GRADUATE GRADUATE TYPOGRAPHY TYPOGRAPHY When Gutenberg discovered a way to mechanically reproduce Title of Essay Title writing through metal type, he did not only shaped the future of Essay Title of information, but also invented the first typeface. Inspired Name of Student from calligraphy, Gutenberg’s first typeface is classified as the Blackletter (fig. 1). Blackletter became the official style Name of Student of Germany and continued to be officially used even after the humanist typefaces were invented. Apart from Germanic lands, Roman style lettering coexisted with blackletter. Like blackletter imitating calligraphy, Roman characters imitated human handwriting. The invention of letterpress is a crucial part of the history of human civilization. But some of the benefits are often forgotten and is worth mentioning. Through this invention, Europe was introduced to a very important conflict that tingled the mind of philosophers and artists up until late 20th century. The human versus the machine. In letterpress, the beauty of calligraphy, which is an organic mark making form was forced to be translated in to a standardized system. The concept of standardization and mechanization pushed the publishers, artists and typographers (in the case of early Renaissance these roles were played by a single person) to also think about standardization in punctuation and grammar. Historians actually discovered a significant increase in the usage of the exclamation mark and the parentheses. Humanist to Transitional 04 RISD I am very interested in investigating how politics and social One other important thing that must have inspired people for finer strokes in typography 05 2014 RISD movements forced printing and printers to travel in order to is the popularization of engraving over woodcut. -
Syntax Anatomy of Letterform Fall 2014
Typography Demonstrations Syntax Anatomy of Letterform Fall 2014 Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Fall 2014 http://www.papress.com/other/thinkingwithtype/letter/anatomy.htm Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Fall 2014 cap height x-height baseline stem bowl serif descender ligature ascender finial Anatomy | Size | X-heights | Classification | Families | A Few Good Fonts | Screen Fonts | New! Play The Personals game Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Syntax Anatomy of Letterform Fall 2014 Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Syntax Anatomy of Letterform Fall 2014 Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Syntax Anatomy of Letterform Fall 2014 Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Syntax Anatomy of Letterform Fall 2014 Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Fall 2014 A basic system for classifying typefaces was devised in the nineteenth century, when print- ers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten- ment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new type- faces based on historic characteristics. Department of Art + Art History University of Nebraska - Lincoln Typography Demonstrations Fall 2014 HUMANIST OR OLD STYLE The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. -
The Printing Revolution in Europe, 1455-1500 Author Index 1
Incunabula: The Printing Revolution in Europe, 1455-1500 Author Index Aaron Hakohen. Abraham ibn Ezra. Orhot Hayyim. Perush ha-Torah. [Spain or Portugal: Printer of Alfasi's Halakhot. [before Naples: Joseph ben Jacob Ashkenazi Gunzenhauser and his 1492?] son [Azriel]. 2 May 1488 ia00000500: GW 486; Offenberg 2; Thesaurus Tipog. ia00009300: H 23; Fava & Bresciano 262; Sander 4; IGI 6 = Hebraicae B37. VI E2; IDL 2448; Sajó-Soltész 1; Voulliéme, Berlin 3178; Fiche: IH 52 Ohly-Sack 4; Madsen 2; Proctor 6729; Cowley p.14; De Rossi (p.58) 21; Encyclopaedia Judaica 122; Freimann p.115; Abbey of the Holy Ghost. Freimann, Frankfurt 1; Goldstein 52; HSTC 73; Jacobs 53; Westminster: Wynkyn de Worde. [about 1497] Marx 1; Offenberg 56; Offenberg, Rosenthal 13; Schwab 46; ia00001500: Duff 1; H 19; STC 13609; Oates 4142; Proctor Steinschneider, Bodley 4221(1); Thesaurus Tipog. Hebraicae 9721; GW 1; Fac: ed. F. Jenkinson, Cambridge, 1907. A60; Wach II 158; Zedner p.22; GW 114. Fiche: EN 129 Fiche: IH 1 Abiosus, Johannes Baptista. Abrégé de la destruction de Troie. Dialogus in astrologiae defensionem cum vaticinio a Paris: Michel Le Noir. 1500 diluvio ad annos 1702. With additions by Domicus Palladius ia00009700: CIBN A-4, GW 119. Soranus. Fiche: RM 78 Venice: Franciscus Lapicida. 20 Oct. 1494 ia00008000: H 24*; GfT 2207; Klebs 1.1; Pellechet 17; CIBN Abstemius, Laurentius. A-2; IGI 2; IBP 1; IBE 2; Essling 756; Sander 1; Walsh Fabulae (Ed: Domicus Palladius Soranus). Aded: Aesopus: 2626A; Sheppard 4581; Proctor 5543; BSB-Ink A-2; GW 6. Fabulae (Tr: Laurentius Valla).