DOCSLIB.ORG

Exhibit Planning, Design, and Fabrication Specifications

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibit Planning, Design, and Fabrication Specifications National Park Service | Harpers Ferry Center Exhibit Planning, Design, and Fabrication Specifications ATTACHMENT 1 February 2019 Contents 1. Definitions 3 2. Project Management 12 3. Exhibit Planning, Design, and Fabrication Process 15 4. Travel, Meetings, and Presentations 32 5. Submittals and Reviews 37 6. Accessibility 39 7. Exhibit Evaluation 42 8. Production Cost Estimates 45 9. Exhibit Visualization 50 10. Resource Packages 52 11. Content Management 54 12. Text 60 13. Exhibit Drawings 65 14. Materials, Colors, and Finishes 72 15. Two-Dimensional Exhibit Graphics 76 16. Content Specialties 99 17. Use Rights and Licenses 111 18. Object Preservation and Protection 113 19. Electronic Programs 122 20. Electronic Equipment 127 21. Tactile Exhibit Elements and Mechanical Interactives 139 22. Design Guidelines for Exhibit Structures 144 23. Exhibit Lighting 146 24. Mock-Ups and Prototypes 150 25. Planning & Design Support During Fabrication 152 26. Maps 155 27. Quality Standards and Safety for Fabrication 160 28. Shop Inspections and Installation 166 29. Operational Training and References 173 30. Closeout 181 31. Audio Description 186 March, 2019 1. Definitions ABAAS: Architectural Barriers Act Accessibility Standards are the accessibility standards which per- tain to the Federal sector. The ABA, or Architectural Barriers Act of 1968, requires access to facilities designed, built, altered, or leased with federal funds. (See also “Accessible,” “ADA,” and “Rehabilita- tion Act.”) Accessible: In context with the requirements of this contract, accessible is defined as in compliance with accessibility standards as specified in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media. Federal laws, including the Architectural Barriers Act Accessibility Standards (ABAAS) and Sections 504 and 508 of the Rehabilitation Act, shall be followed. Universal Design and its seven principles shall be applied as a part of the NPS definition and requirements. Accessioned Objects (AO): Objects accessioned into the park collection, or objects on loan from other institutions. These items require the highest level of preservation and security criteria. Historic objects also include original period items acquired as part of the exhibit project to enhance interpre- tation. Park staff determines whether to accession these objects on a case by case basis. ADA: Americans with Disabilities Act of 1990. This law prohibits discrimination against individuals on the basis of disability. It applies to state and local governments, and public accommodations oper- ated by the private sector. While there are exceptions, it does not generally apply to media and exhibi- tions that are federally funded and installed in federal facilities. Therefore, the term “ADA” or “ADA compliant” should not be used when referring to accessibility compliance in Federal Government owned and operated facilities. (See also “ABAAS” and “Rehabilitation Act.”) Artifacts: See “Accessioned Objects.” As-Built AV Drawings: Final design and detail drawings updated by the contractor to reflect all changes that occur during installation and provide a record of the “as-built” condition of the AV, or Electronic Equipment, systems. Drawings include all equipment, cables, connectors, connections points, and devices. As-Built Exhibit Plan: The fabrication contractor updates exhibition content data (e.g., text, con- tent schedules, technical data, etc.) to reflect all changes that occur during fabrication and installation, and provides a record of the “as-built” condition of the exhibits, which may vary from the final design documents prepared by the exhibit planning & design contractor. As-Built Exhibit Drawings: Final design and detail drawings updated by the fabrication contrac- tor to reflect all changes that occur during fabrication and installation and provide a record of the “as-built” condition of the exhibits, which may vary from the final design documents prepared by the exhibit planning & design contractor. As-Built Lighting Plan: A final plan drawing for the installed exhibit lighting system showing fix- ture placement, focusing information, and itemized lists detailing fixture, accessory, and lamp data. Assistive Listening Systems: Assistive listening is used by persons with mild to profound hearing loss who may or may not use a hearing aid. These systems are a suite of equipment used to deliver sound directly from its source to the person receiving it. The receiving person can also amplify the sound based on their needs. The amplified sound is transmitted via radio frequency or infrared to a receiver connected to the person’s headset, ear buds, or an induction loop that transmits the sound to the person’s hearing aid. Audience-Centered Experience (ACE): Audience Centered Experiences are the practice of elicit- ing participation and contribution from an audience and community. Audience-centered interpretation can infuse any and all park experiences by providing opportunities for audience members to contribute to the meaning-making process, engage with each other, and Definitions | 3 National Park Service | Standard Exhibit Planning, Design, and Fabrication Specifications explore the current social context of national park resources. AV Program Concept Treatment: A narrative overview of the proposed production’s creative approach and storyline prepared during the exhibit planning and design process. AV Concept Treat- ments typically include a description of the actors and/or participants, their roles and general dia- logue or narration, and a general description of the scenes, locations, graphics, artwork, and anima- tion to be used in the production with sufficient detail to provide a sense of the proposed production; the basis of the production plan and script. Audio Description (AD): Through words, AD describes visual content essential for understanding the content of a program. Audio description is used for a variety of media, including video, digital interactive programs and exhibits. People who are blind or have low vision are the primary audience, but audio description can also be used by people who have print disabilities or auditory learning styles. AD is typically scripted and recorded by a professional. In some cases, AD text may be read by a screen reader and synthesized voice. Specific delivery systems and techniques vary based on the media and venue. AD is also referred to as video description, verbal description, descriptive video and descriptive audio. AV Program Production Plan: A document which presents the major categories of work to be performed in the planning, production, and post-production phases of the program. The Production Plan shall describe all of the elements required to produce the program as outlined in the Treatment and/or Scope of Work, including, but not limited to: production personnel (including the use and identification of sub-contractors, consultants, and other salaried employees of the firm), equipment, post-production facilities, travel, transportation, and a cost estimate of all materials expenses such as capture and storage media, and archival images. Within the Production Plan, the contractor shall con- firm that they understand the “Rights in Data—Special Works” requirements of the contract, includ- ing rights for music, stock footage, and other elements. AV Program Production Treatment: A narrative description of the proposed production ele- ments to include an estimated percentage of the program that will be comprised of original, archival, or stock materials (including footage, photographs, or audio); reenactments; interviews; animation; graphics; and illustrations; and the proposed source(s) for such materials. It shall also include a description of the narration, sound effects, and musical score, to include whether the score shall be comprised of original or stock music. The AV Production Treatment provides the basis of the AV Pro- duction Plan and script. Audiovisual (AV) program: One type of Electronic Program (EP). AV programs include linear programs with fixed running times. Through the use and/or integration of numerous elements such as sound effects, music, voice-overs, interviews, moving and historic images, AV programs can be innate- ly dynamic. They are especially effective in eliciting emotional responses, telling stories, and conveying concepts where motion and/or sound are important or particularly effective. Throughout these spec- ifications “AV” is also used an as umbrella term to refer collectively to Audiovisual Programs, Digital Interactive Programs, and Electromechanical Programs. Bubble Diagrams: Diagrams that use labeled shapes (bubbles) identifying exhibit themes and con- cepts to show how they relate to each other and/or to their location on the exhibit floor plan. Captions: Captions are designed for persons who are deaf or have hearing loss. The terms “cap- tions” and “Subtitles for the Deaf and Hard of Hearing” (SDH) are used interchangeably in these specifications. They display spoken dialogue and non-speech information as printed words on tele- vision screens, computer monitors, projection screens, caption boards and other visual displays. Non-speech information is audible information essential to understanding the content. Examples of non-speech information include speaker identification, sound effects, music, manner of speaking (whispering, word emphasis, emotion, etc.) and audience reactions (laughing, booing, etc.) Captions may hold secondary benefits for people who are
Load more

Recommended publications
  • Oral History Interview with Massimo Vignelli, 2011 June 6-7
    Oral history interview with Massimo Vignelli, 2011 June 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Massimo Vignelli on 2011 June 6-7. The interview took place at Vignelli's home and office in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mija Riedel has reviewed the transcript and have made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Massimo Vignelli in his New York City office on June 6, 2011, for the Smithsonian Archives of American Art. This is card number one. Good morning. Let's start with some of the early biographical information. We'll take care of that and move along. MASSIMO VIGNELLI: Okay. MIJA RIEDEL: You were born in Milan, in Italy, in 1931? MASSIMO VIGNELLI: Nineteen thirty-one, a long time ago. MIJA RIEDEL: Okay. What was the date? MASSIMO VIGNELLI: Actually, 80 years ago, January 10th. I'm a Capricorn. MIJA RIEDEL: January 10th.
    [Show full text]
  • Preparing Images for Delivery
    TECHNICAL PAPER Preparing Images for Delivery TABLE OF CONTENTS So, you’ve done a great job for your client. You’ve created a nice image that you both 2 How to prepare RGB files for CMYK agree meets the requirements of the layout. Now what do you do? You deliver it (so you 4 Soft proofing and gamut warning can bill it!). But, in this digital age, how you prepare an image for delivery can make or 13 Final image sizing break the final reproduction. Guess who will get the blame if the image’s reproduction is less than satisfactory? Do you even need to guess? 15 Image sharpening 19 Converting to CMYK What should photographers do to ensure that their images reproduce well in print? 21 What about providing RGB files? Take some precautions and learn the lingo so you can communicate, because a lack of crystal-clear communication is at the root of most every problem on press. 24 The proof 26 Marking your territory It should be no surprise that knowing what the client needs is a requirement of pro- 27 File formats for delivery fessional photographers. But does that mean a photographer in the digital age must become a prepress expert? Kind of—if only to know exactly what to supply your clients. 32 Check list for file delivery 32 Additional resources There are two perfectly legitimate approaches to the problem of supplying digital files for reproduction. One approach is to supply RGB files, and the other is to take responsibility for supplying CMYK files. Either approach is valid, each with positives and negatives.
    [Show full text]
  • FTA First Guide
    Design Guide An SPI Project DESIGN FLEXOGRAPHIC TECHNICAL ASSOCIATION FIRST 4.0 SUPPLEMENTAL FLEXOGRAPHIC PRINTING DESIGN GUIDE 1.0 Design Introduction 1 5.0 File Formats and Usage 30 1.1 Overview 2 5.1 Specified Formats 30 1.2 Responsibility 2 5.2 Portable Document Format (PDF) 30 1.3 Assumptions 3 5.3 Clip Art 31 5.4 Creating and Identifying FPO Continuous Tone Images 31 2.0 Getting Started 4 5.5 Special Effects 31 2.1 Recognizing Attributes of the Flexographic Process 4 5.6 Image Substitution – Automatic Image Replacement 32 2.2 Materials and Information Needed to Begin 5 5.7 File Transfer Recommendations 32 2.2.1 Template Layout / Die-Cut Specifications 55.8 Program Applications 32 2.3 File Naming Conventions 6 6.0 Preflight of Final Design Prior to Release 33 6 2.4 Types of Proofs 8 6.1 Documenting the Design 33 2.5 Process Control Test Elements 9 6.2 Release to Prepress 34 3.0 Type and Design Elements 9 3.1 Typography: Know the Print Process Capabilities 9 3.1.1 Registration Tolerance 12 3.1.2 Process Color Type 13 3.1.3 Process Reverse/Knockout 13 3.1.4 Line Reverse/Knockout 13 3.1.5 Drop Shadow 13 3.1.6 Spaces and Tabs 14 3.1.7 Text Wrap 14 3.1.8 Fonts 14 3.2 Custom and Special Colors 16 3.3 Bar Code Design Considerations 17 3.3.1 Bar Code Specifications 18 3.3.2 Designer Responsibilities 18 3.3.3 USPS Intelligent Mail Bar Code 22 3.4 Screen Ruling 22 3.5 Tints 23 3.6 Ink Colors 24 4.0 Document Structure 25 4.1 Naming Conventions 26 4.2 Document Size 26 4.3 Working in Layers 26 4.4 Auto-Traced / Revectorized Art 26 4.5 Blends, Vignettes, Gradations 27 4.6 Imported Images – Follow the Links 28 4.7 Electronic Whiteout 29 4.8 Image Capture Quality – Scanning Considerations 29 4.9 Scaling & Resizing 30 4.10 Color Space 30 FLEXOGRAPHIC IMAGE REPRODUCTION SPECIFICATIONS & TOLERANCES 1 DESIGN 1.0 DESIGN INTRODUCTION 1.1 Overview FIRST 4.0 is created to facilitate communication among all participants involved in the design, preparation and printing of flexographic materials.
    [Show full text]
  • Guide to Publishing at the US Department of Education
    DOCUMENT RESUME ED 457 533 CS 510 669 AUTHOR Ohnemus, Edward; Zimmermann, Jacquelyn TITLE Guide to Publishing at the U.S. Department of Education. November 2001 Edition. INSTITUTION Department of Education, Washington, DC. Office of the Secretary.; Office of Public Affairs (ED), Washington, DC. PUB DATE 2001-11-00 NOTE 56p. AVAILABLE FROM ED Pubs, P.O. Box 1398, Jessup, MD 20794-1398. Tel: 877-433-7827 (Toll Free); Web site: http://www.ed.gov/pubs/edpubs.html. PUB TYPE Guides - Non-Classroom (055) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Editing; *Federal Government; Guidelines; Layout (Publications); Printing; Speeches; *Writing for Publication ABSTRACT This guide is intended for use by United States Department of Education employees and contractors working on manuscripts to be published by all principal offices except for the Office of Educational Research and Improvement, which includes the National Center for Education Statistics. It helps authors publish according to the duties and responsibilities of the United States Department of Education, whose mission is to ensure equal access to education and to promote educational excellence throughout the nation. Sections of the guide are: Your First Steps toward Publishing; Who Should Use This Guide; How This Guide Will Help You; Why You Must Publish through Government Channels; Getting Your Manuscript Edited and Printed; Getting Your Manuscript Designed; Steps in a Typical Printing Job at ED; Parts of a Publication; Sample Verso (Boilerplate) Page; Verso Page Explanation; The Writing Guides to Use; Limits on Content; Publishing Translations of ED Publications; Publishing Newsletters; Stationery and Business Cards; Giving and Publishing Official Speeches; How Your Publication Will Reach the Audience for Whom It Was Intended; and Forms Needed To Get Your Manuscript Edited and Printed.
    [Show full text]
  • A Sketch of the History of Music-Printing, from the Fifteenth to The
    A Sketch of the History of Music-Printing, from the Fifteenth to the Nineteenth Century ( Continued) Author(s): Friedrich Chrysander Source: The Musical Times and Singing Class Circular, Vol. 18, No. 413 (Jul. 1, 1877), pp. 324-326 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3355495 Accessed: 17-01-2016 05:24 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 130.240.43.43 on Sun, 17 Jan 2016 05:24:14 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL 324 TIMES.--JuLY I, 1877. is only the shallow water that foams and rages. Judging him by this standard of his own, we must Farther out the "blue profound" merely rises in unfortunatelycancel a considerable part of his book. obedience to force and then sinks again to rest upon Poor Schmid! Too much learning often dulls the the spot from which it rose. So with the effect of spirit, if there is not on the other side a little his- fashion on a nation's music.
    [Show full text]
  • FFTA FIRST 5.0 Design Guide (Pdf)
    Complimentary Design Guide 5.0 Flexographic Image Reproduction Specifications & Tolerances Complimentary Design Guide An FTA Strategic Planning Initiative Project The Flexographic Technical Association has made this FIRST 5.0 supplement of the design guide available to you, and your design partners, as an enhancement to your creative process. To purchase the book in it’s entirety visit: www.flexography.org/first Copyright, © 1997, ©1999, ©2003, ©2009, ©2013, ©2014 by the Flexographic Technical Association, Inc. All rights reserved, including the right to reproduce this book or portions thereof in any form. Library of Congress Control Number: 2014953462 Edition 5.0 Published by the Flexographic Technical Association, Inc. Printed in the United States of America Inquires should be addressed to: FTA 3920 Veterans Memorial Hwy Ste 9 Bohemia NY 11716-1074 www.flexography.org International Standard Book Number ISBN-13: 978-0-9894374-4-8 Content Notes: 1. This reference guide is designed and formatted to facilitate ease of use. As such, pertinent information (including text, charts, and graphics) are repeated in the Communication and Implementation, Design, Prepress and Print sections. 2. Registered trademark products are identified for information purposes only. All products mentioned in this book are trademarks of their respective owner. The author and publisher assume no responsibility for the efficacy or performance. While every attempt has been made to ensure the details described in this book are accurate, the author and publisher assume no responsibility for any errors that may exist, or for any loss of data which may occur as a result of such errors. .1 ii Flexographic Image Reproduction Specifications & Tolerances 5.0 INTRODUCTION The Mission of FIRST FIRST seeks to understand customers’ graphic requirements for reproduction and translate those aesthetic requirements into specifications for each phase of the flexographic printing process including: customers, designers, prepress providers, raw material & equipment suppliers, and printers.
    [Show full text]
  • Guidelines for Preparing and Submitting Electronic Design and Pre-Press Files Professional Graphics (Part 1) 427-033 Electronic Design 9/11/97 2:03 PM Page 1
    427-033 Electronic Design 9/12/97 6:52 AM Page c1 U.S. Government Printing Office Publication 300.6 August 1997 Guidelines for Preparing and Submitting Electronic Design and Pre-Press Files Professional Graphics (Part 1) 427-033 Electronic Design 9/11/97 2:03 PM Page 1 To Our Customers, The United States Government Printing Office (GPO) is dedicated to providing our customers the best possible printed job at the lowest possible price, while meeting each customer’s deadline. To do this effec- tively, GPO must be able to provide usable Electronic Design and Pre-Press (EDPP) files to the printing contractor. Commonly referred to as Desktop Publishing, EDPP covers electronic publishing from design to press. The following guidelines will assist you in preparing effective EDPP files for items created using professional publish- ing software packages. Due to the many advantages of digital design, we encourage all of our customers to consider submitting jobs as digital copy on electronic media. Your assistance in following these guidelines is appreciated. MICHAEL F. DIMARIO Public Printer PG–1 427-033 Electronic Design 9/11/97 2:03 PM Page 2 Special Notes The EDPP guidelines are a two-part set dedi- cated to providing customers with valuable information about creating publications on a desktop computer. The section that you are currently reading is Part 1—Professional Graphics. If you are a customer who is currently using an Office Graphics (OG) application such as Word- Perfect, Microsoft Word, Microsoft Powerpoint, Microsoft Excel, Freelance Graphics, Microsoft Publisher or Harvard Graphics, please refer to Part 2—Office Graphics.
    [Show full text]
  • Administrator's Guide
    Oracle® Hyperion Financial Data Quality Management, Enterprise Edition Administrator's Guide Release 11.1.2.4.220 E73556-08 February 2019 Oracle Hyperion Financial Data Quality Management, Enterprise Edition Administrator's Guide, Release 11.1.2.4.220 E73556-08 Copyright © 2009, 2019, Oracle and/or its affiliates. All rights reserved. Primary Author: EPM Information Development Team This software and related documentation are provided under a license agreement containing restrictions on use and disclosure and are protected by intellectual property laws. Except as expressly permitted in your license agreement or allowed by law, you may not use, copy, reproduce, translate, broadcast, modify, license, transmit, distribute, exhibit, perform, publish, or display any part, in any form, or by any means. Reverse engineering, disassembly, or decompilation of this software, unless required by law for interoperability, is prohibited. The information contained herein is subject to change without notice and is not warranted to be error-free. If you find any errors, please report them to us in writing. If this is software or related documentation that is delivered to the U.S. Government or anyone licensing it on behalf of the U.S. Government, then the following notice is applicable: U.S. GOVERNMENT END USERS: Oracle programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, delivered to U.S. Government end users are "commercial computer software" pursuant to the applicable Federal Acquisition Regulation and agency- specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, shall be subject to license terms and license restrictions applicable to the programs.
    [Show full text]
  • QP Prepress Form
    PREPRESS SERVICES: OUTPUT SPECIFICATIONS General Information — Requisition No. Customer: Telephone: Contact person: Fax: General job description: Previous Req’n No. Date: Total number of pages: Final trim size X inches Colours: Ⅺ B/W Ⅺ CMYK Time: Ⅺ Ready for output Ⅺ Prepress services required Spot colours: Coordinator: Output Information — to be filled in by client IMPORTANT: Hard copy supplied Ⅺ Laser proof Ⅺ Colour proof Ⅺ Did you send a copy of your file(s), not the original? Document name Number of pages Actual size Ⅺ Did you send only final versions of files to be output and delete all old files? Ⅺ Did you use ‘‘Collect for Output’’ or ‘‘Save-as, copy all files’’ command to load transport disk? Fonts used Ⅺ Did you label and name all of your disks? Ⅺ Adobe/Lino Ⅺ AGFA Ⅺ TrueType Ⅺ Image Club Ⅺ Other Ⅺ Did you include a ‘‘Print Window’’ directory of disk contents? Please list all font families Ⅺ Did you send a laser proof of all files at 100% to be output with file name clearly written on it? Ⅺ Did you clearly mark each layout element with desired printing colour? Images used Ⅺ Mac Ⅺ PC Ⅺ Did you clearly mark any graduated screens with their beginning and ending screen values? Ⅺ Client-supplied high-resolution Ⅺ Client-supplied FPO Ⅺ Did you allow .125Љ bleed in all layout elements that touch a page Ⅺ APR (Automatic Picture Replacement in SyQuest) edge? Ⅺ OPI (Open Prepress Interface) Ⅺ Did you include all fonts used in documents and graphics (screen File format used Ⅺ TIFF Ⅺ EPS Ⅺ DCS Ⅺ PhotoCD fonts/printer fonts)? Ⅺ Other Ⅺ Did you include all graphic files (tiff, eps) and fonts used to create them? Ⅺ Archive scans requested Ⅺ Did you mark all graphics ‘‘LIVE’’ or ‘‘FPO’’ (For Position Only) with the graphics file name clearly indicated on your laser proof? Ⅺ Did you clearly indicate on your laser proof whether or not keylines print? Trapping Ⅺ Provided by client࠽0.
    [Show full text]
  • The Methods and Business of Petrucci Vs. Attaingnant
    Musical Offerings Volume 7 Number 2 Fall 2016 Article 2 9-2016 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Sean A. Kisch Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Book and Paper Commons, Fine Arts Commons, Musicology Commons, Printmaking Commons, and the Publishing Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Kisch, Sean A. (2016) "Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant," Musical Offerings: Vol. 7 : No. 2 , Article 2. DOI: 10.15385/jmo.2016.7.2.2 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss2/2 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Document Type Article Abstract The music printing of Ottaviano Petrucci has been largely regarded by historians to be the most elegant and advanced form of music publishing in the Renaissance, while printers such as Pierre Attaingnant are only given an obligatory nod. Through historical research and a study of primary sources such as line-cut facsimiles, I sought to answer the question, how did the triple impression and single impression methods of printing develop, and is one superior to the other? While Petrucci’s triple impression method produced cleaner and more connected staves, a significant number of problems resulted, including pitch accuracy and cost efficiency.
    [Show full text]
  • Digital Magazine DESIGN
    cover 2/4/2003 11:38 Page 1 Honeywill and Carpenter Publishers of contemporary high-street magazines invest more and more money in developing innovative design for an increasingly design-literate reader. Innovation, however, must always be grounded in the underlying conventions of legibility to ensure loyal readership and economic success. Digital Magazine Design provides detailed descriptions of all the necessary rules of design, and uses these rules to cast a critical eye over a selection of contemporary high-street digital magazine magazines. The second part of this volume, written by publishing students, demonstrates how the tools of design can be applied to the analysis and practice of contemporary magazine design. Through an understanding of the relationship between text, image and design, and the ability to make informed judgements, the student is able to critically evaluate all publishable material. DESIGN Paul Honeywill is a graphic designer and the Programme Director of Visual Arts at the University of Plymouth. He is the author of Visual Language for the World Wide Web (www.w3icons.com) and co-author of Digital Design using QuarkXPress 4. Daniel Carpenter is a publishing graduate from the University of Plymouth. ISBN 1-84150-086-0 intellect books intellect www.intellectbooks.com 9 781841 500867 Approaching Magazine Design with student case studies edited by Paul Honeywill Daniel Carpenter intellect™ Bristol. UK Portland OR, USA First published in 2002 by intellect Books PO Box 862, Bristol, BS99 1DE, UK First published in USA in 2002 by intellect Books ISBS, 5804 N. E. Hassalo St, Portland, Oregon 97213-3644, USA Copyright Part 1 ©2002 Paul Honeywill Part 2 ©2002 Jennifer Campbell, Becky Gadd, Daniel Carpenter, Paul Prudden, May Yao and Alison Evans respectively All rights reserved.
    [Show full text]
  • PETRUCCI B-04 BOORMAN 6-04-2005 11:15 Pagina 125
    PETRUCCI B-04 BOORMAN 6-04-2005 11:15 Pagina 125 STANLEY BOORMAN PETRUCCI IN THE LIGHT OF RECENT RESEARCH It is in the nature of a paper with such a title as this that there can be no single over-arching theme – unless it be that the life and work of Petrucci continue to present surprises and raise problems for the modern interpreter. However, this paper will address a number of diverse issues, which will be subsumed under four different headings: his life before 1520; his contacts for the music he published; his life after 1520 – with perhaps the most interesting new evidence; and something of the implications of patterns of ownership of his editions.1 PETRUCCI’S LIFE BEFORE 1520 Apart from two earlier documents executed in Fossombrone,2 and his privilege application of 1498, Petrucci appears on the scene in 1501 with the immediate triumph of his Harmonice Musices Odhecaton A (RISM 1501).3 This book, with its startlingly brilliant title-initial, with the elegant impagination and individual notational characters, and with the then-unusual landscape format, must have presented an impressive face to browsers in bookshops of the time. Not surprisingly, it has led to the presumption that Petrucci had studied the craft of printing, perhaps in Venice, and presumably after he had studied music (as it was thought) at the court of Urbino. And yet there is no evidence for either. The only list known to me of the “family” of the Urbino Duke, Guidobaldo I, survives in an eighteenth-century copy.4 1 Much of what follows will be examined in greater detail in my forthcoming Ottaviano Petrucci: Catalogue Raisonné (New York: Oxford University Press).
    [Show full text]