Paul A. Bennett Collection
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The Press of A. Colish Archives
Special Collections Department The Press of A. Colish Archives 1913 - 1990 (bulk dates 1930s - 1950s) Manuscript Collection Number: 358 Accessioned: Purchase, September 1991. Extent: 5 linear ft. plus oversize material Content: Correspondence, galley and page proofs, drafts, notes, photographs, negatives, illustrations, advertisements, clippings, broadsides, books, chapbooks, pamphlets, journals, typography specimens, financial documents, and ephemera. Access: The collection is open for research. Processed: March 1998, by Shanon Lawson for reference assistance email Special Collections or contact: Special Collections, University of Delaware Library Newark, Delaware 19717-5267 (302) 831-2229 Table of Contents Biographical and Historical Note Scope and Contents Note Series Outline Contents List Biographical and Historical Note American fine printer and publisher Abraham Colish (1882-1963) immigrated with his family to the United States from Eastern Europe in the late nineteenth century. In 1894, at the age of twelve, he took an after-school job with a small printing shop in Bridgeport, Connecticut. Over the next few years, his duties progressed from sweeping the shop and selling papers to feeding the press and composing type. When he was sixteen, Colish and his mother moved to New York City, where he quickly found a position as a typesetter for Kane Brothers, a Broadway printing company. In 1907, Colish left his position as a composing room foreman at Rogers and Company and opened his own composing office. His business specialized in advertising typography and is credited as the first shop to exclusively cater to the advertising market. By the next year, Colish moved into larger quarters and began printing small orders. After several moves to successively larger offices in New York City, the Press of A. -
ERIC GILL SAGGIO an Essay SULLA on TIPO Typography GRAFIA
ERIC GILL SAGGIO An Essay SULLA on TIPO Typography GRAFIA RONZANI EDITORE typographica storia e culture del libro 2 Eric Gill, foto di Howard Coster, 1928 ERIC GILL Saggio sulla tipografia Ronzani Editore Eric gill, Saggio Sulla tipografia Titolo originale: An Essay on Typography Traduzione di Lucio Passerini Seconda edizione italiana interamente riveduta dall’editore con il testo originale inglese © 2019 Ronzani Editore S.r.l. | Tutti i diritti riservati www.ronzanieditore.it | [email protected] ISBN 978-88-94911-15-2 SOMMARIO Introduzione, di Lucio Passerini 7 Saggio sulla tipografia 23 Il Tema 25 1. Composizione del tempo e del luogo 29 2. Disegno delle lettere 45 3. Tipografia 77 4. Incisione dei punzoni 89 5. Carta e inchiostro 93 6. Il letto di Procuste 99 7. Lo strumento 105 8. Il libro 111 9. Perché le lettere ? 123 An Essay on Typography 135 INTRODUZIONE di Lucio Passerini La prima edizione di questo saggio di Eric Gill fu eseguita sotto il diretto controllo dell’autore. Composta nel 1931, venne stampata in 500 copie firmate, su carta apposita- mente fabbricata a mano, nella tipografia che lo stesso Gill aveva impiantato l’anno precedente insieme al gene- ro René Hague presso la casa in cui risiedeva. Il libro fu composto con un nuovo carattere disegnato apposita- mente da Gill per questa impresa editoriale di famiglia, inciso e fuso per la composizione a mano dalla Caslon Letter Foundry di Londra. Il carattere venne chiamato Joanna, come la figlia di Gill, moglie di René Hague. Pubblicato a Londra da Sheed & Ward, il volume portava sulla sovraccoperta la dicitura « Printing & Piety. -
The Story of Perpetua
The Story of Perpetua 3 Tiffany Wardle March 10, 2000 2 4 Essay submitted in partial fulfillment of the requirements for the Master of Arts in Theory and History of Typography and Graphic Communication, University of Reading, 2000. This essay relates the origins of the typeface Perpetua and Felicity italic which were designed by Eric Gill and produced byThe Monotype Corporation.Although the type and the collaborators are well known, the story has had to be pieced together from a variety of sources—Gill’s and Morison’s own writings and biographical accounts.There are accounts similar to this, but none could be found that either takes this point of view, or goes into as great detail. In 1924, an essay directed towards the printers and type founders was calling for a new type for their time. Entitled ‘Towards An Ideal Type,’ Stanley Morison wrote it for the second volume of The Fleuron. In the closing statement there is an appeal for “some modern designer who knows his way along the old paths to fashion a fount of maximum homogeneity, that is to say, a type in which the uppercase, in spite of its much greater angularity and rigidity, accords with the great fellowship of colour and form with the rounder and more vivacious lowercase.”1 Two years later, in 1926, again Morison is requesting a “typography based not upon the needs and conventions of renaissance society but upon those of modern England.”2 Only two years previous had the Monotype Corporation assigned Stanley Morison as their Typographical Advisor. Once assigned he pursued what he later came to call his “programme of typographical design”3 with renewed vigour. -
The Typography of Law Reviews: a Typographic Survey of Legal Periodicals
The Typography of Law Reviews: A Typographic Survey of Legal Periodicals Ambrogino Giusti Submitted to Professor Penny A. Hazelton to fulfill course requirements for Current Issues in Law Librarianship, LIS 595, and to fulfill the graduation requirement of the Culminating Experience Project for MLIS University of Washington Information School Seattle, Washington May 30, 2016 Typefaces are the clothes words wear, and just as we make judgments about people by the clothes they wear, so we make judgments about the information we’re reading by the typefaces. - Caroline Archer1 Times New Roman is a workhorse font that’s been successful for a reason. Yet it’s an open question whether its longevity is attributable to its quality or merely its ubiquity. - Matthew Butterick2 Keywords fonts, law reviews, law journals, legal periodicals, legal publications, typefaces, typography 1 Sam McManis, What Your Font Choice Says About You, THE ROANOKE TIMES (Jan. 13, 2008), http://www.roa- noke.com/webmin/features/what-your-font-choice-says-about-you/article_44076b07-db52-585b-af72- 84dc4bc4c8e6.html. 2 Matthew Butterick, A Brief History of Times New Roman, in BUTTERICK’S PRACTICAL TYPOGRAPHY (2016), http://practi- caltypography.com/times-new-roman.html. Table of Contents 1.0 Introduction ............................................................................................................................................ 1 2.0 History of Typography ............................................................................................................................ -
Download Typetalkdec2017.Pdf
Found Type / Part 1 research 1 / 12 / 2018 Serif Aa Garamond Regular Sans serif Aa Franklin Gothic Book cap height ascender height x-height Aaxtg baseline Helvetica / 190pt cap height ascender height x-height Aaxtg baseline Baskerville / 190pt regular semibold bold Baskerville light regular ultra bold Gill sans 1928-32 condensed medium extended Futura 1927 Helvetica Neue Ultra Light Helvetica Neue Thin Helvetica Neue Light Helvetica Neue Regular Helvetica Neue Medium Helvetica Neue Bold Helvetica 1957 apex ascender counter ear stem AatgkQ horizontal stroke arm or crossbar leg terminal loop tail Baskerville Key characters a a single storey double storey Futura Gill Key characters e e oblique cross bar horizontal cross bar Centaur Garamond Key characters g g g single storey double storey double storey Futura open loop closed loop Meta Gill Key characters A A A pointed apex flat apex concave apex Futura Bembo Garamond Spur A spur only appears at the end of a curved letter-form G G G without spur horizontal spur vertical spur Meta bold Albertus Serifa Key characters Q Q Q Tail dissecting bowl long tail short tail Futura Baskerville Albertus Key characters R R straight leg curved leg Futura Didot Fraktur Gutemberg Bible, Germany,1455 2014 Humanist Garamond 15th century The Fleuron Beatrice Warde 1926 Garamond Brighten the corners 2015 Garamond Rational Didot 1784 - 1811 Reid Miles, Blue Note Records 1964 Inscribed & Engraved Trajan 1989 Jonathan Barnbrook, 2013 Albertus 1940 Pentagram 2011 Albertus / Gill Sans Humanist Sans Gill Sans 1928 Ministry of Food, 1945 Gill Sans Peter Saville, 1981 Gill Sans Gill Sans Extra Bold Neo-Grotesque Sans Helvetica 1957 Emil Ruder, 1960 Univers 1957 McCann Erickson Helvetica 1969 / 1971 Mark Farrow, 1997 Helvetica Aa Aa Aa Garamond Regular Didot Regular Cooper black Aa Aa Aa Baskerville Regular American typewriter Rockwell Q K rDidot Gill sans Rockwell O A J Cooper Black Garamond Bodoni. -
Modernism and the New Media: Constructing the Crystal Goblet Online
Modernism and the New Media: Constructing the Crystal Goblet Online by Ollie Briggs 200792765 for Principles of Typography DESN2730 Accompanying materials at olliebriggs.com/projects/typography Modernism and the New Media: Constructing the Crystal Goblet Online Abstract This report first outlines the main philosophies and practice-orientated principles which formed the modernist period in typography, with several key modernist manifestos outlined, including Jan Tschichold’s “Die Neue Typographie” and Beatrice Warde’s “The Crystal Goblet”. Key modernist prin- ciples are identified throughout. The philosophy behind the conception of the internet as a communication medium is then explored and defined, which is compared with the driving principles behind modernism. The report makes the argument that modernist principles are indeed applicable to the new media. Examples of modernist principles are then identified within the development of a case study of web typography, from the early years of the internet to a present day design, identifying online examples which adhere to modernist principles and in what capacity. The report concludes by identifying how traditional principles can be developed into a set of technical guidelines and recommendations for those wishing to set typography online when it is desired that the typesetting should adhere to modernist principles, in doing so presenting a brief overview of online type related technologies. Structure 1.1 An overview of modernism 1.2 “The Crystal Goblet”, a modernist mindset 1.3 “Die Neue -
A Study of Warde's Crystal Goblet, Leeuwen's Typographic Meaning
Running head: TYPOTHESIS Typothesis: A Study of Warde’s Crystal Goblet, Leeuwen’s Typographic Meaning and How it Relates to the Bible Ryan Mercer A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2011 TYPOTHESIS 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Edward Edman, M.A., P.M.C. Thesis Chair ______________________________ Stuart Schwartz, Ph.D. Committee Member ______________________________ Daniel Logan, Ed.D. Committee Member ______________________________ James H. Nutter, D.A. Honors Director ______________________________ Date TYPOTHESIS 3 “Type is saying things to us all the time.” — Rick Poynor “See what large letters I use as I write to you with my own hand!” — The Apostle Paul TYPOTHESIS 4 Abstract The way readers interpret the written word is changing. We look for information almost as much in between the lines as we do in the words themselves. The internet and it’s tools offer ways for readers to engage the text like never before — can the printed word keep up? This thesis will look at the history of print through the eyes of typography and decide if multimodal methods of arranging type are appropriate or even possible in the modern book. Specifically, it will look at the Christian Bible and it’s already present use of multimodalism. This study will bring awareness to the possibility for a new method of meaning in Biblical typography. TYPOTHESIS 5 Typothesis: A Study of Warde’s Crystal Goblet, Leeuwen’s Typographic Meaning and How it Relates to the Bible Our world is a world of letters. -
Isbn 0-527-Is763-I (Set)
72 Papers of the Bibliographical Society of Canada xx book to locate omissions. Responsibility rests on the reviewer, however, to mention such items yet at the same time to avoid placing too much emphasis on them at the expense of the book as a whole. Glaister'sGlossary of the Book is a work of intense, bibliographical dedication that contains an enormous amount of valuable information. It is a highly serious under- taking, which perhaps accounts for the omission of the 'folklore' of the printing and publishing industry. Some mention might have been included about the many lives of Gutenberg and the legends surrounding him; under the 'lay of the case' some reference to the rhymes used by apprentices to master the case's layout would have added colour to the entry. These matters aside, Glaister'sGlossary is a major accom- plishment, one without equal, and a work with which every bibliographer should become closely acquainted. DOUGLAS G. LOCHHEAD (ProfessorLochhead, Director of CanadianStudies at Mount Allison University, was formerly Librarian of Massey College, University of Toronto, where he established the College's bibliographicalpress.) The History of Printingfrom its Beginnings to 1930: The Subf ect Catalogue of the American Type Founders Company Library in the Columbia University Libraries. With an introduction by Kenneth A. Lohf. Millwood, N.Y.: Kraus International Publications, 1980. 4 vols., $325.oo (U.S.) IsBN 0-527-Is763-I (set) The significance of the publication of the subject catalogue of the Typographic Library and Museum resides in the fact that it is the sole remaining record of a collection dealing with the typographic arts considered to have been the most com- prehensive and cohesive in its day. -
Messy History Vs. Neat History: Toward an Expanded View of Women in Graphic Design
367 Martha Scotford Messy History vs. Neat History: Toward an Expanded View of Women in Graphic Design For the contributions of women in graphic design to be discovered and understood, their different experiences and roles within the patriarchal and capitalist framework they share with men, and their choices and experiences within a female framework, must be acknowledged and explored. Neat history is conventional history: a focus on the mainstream activities and work of individual, usually male, designers. Messy history seeks to discover, study and include the variety of alternative approaches and activities that are often part of women designers' professionallives.To start the expansion, a typology of Martha Scotford has degrees in art roles played by women in graphic design is proposed history from Oberlin College and a graduate degree in graphic design for further research. from Yale University. Following years of book design practice, she joined the faculty in graphic design at the School of Design, North Carolina State University, where she teaches graphic design, history, typography and publication design. In 1991-1992, supported by a grant from the National Endowment for the Arts, as a visiting research scholar at Wellesley College, Center for Research on Women, she North Carolina State University researched women in graphic design. Schoo l of Design In 1994, supported by another NEA Raleigh grant, she studied Cipe Pineles, using North Carolina 27695 the Pineles Archives at the Rochester Visible Language, 28:4 Institute of Technology. She has Martha Scotford. 368-388 published articles in I. D., Print, the © Visible Language, 1994 AlGA Journal of Graphic Design, Visible Rhode Island Language and Design Issues. -
The Crystal Goblet, Or Printing Should Be Invisible
The 9rystal Goblet SIXTEEN ESSAYS ON TYPOGRAPHY BY BEATRICE WARDE SELECTED AND EDITED BY HENRY JACOB CLEVELAND AND NEW YORK THE WORLD PUBLISHING COMPANY MCMLVI z. First published in the USA in 1956 CONTENTS by the World Publishing Company /; Cleveland and New York Introduction Made in Great Britain 5 ~ AN APPROACH TO TYPOGRAPHY THE CRYSTAL GOBLET or PRINTING SHOULD BE INVISIBL.E II ;;.;(p THE NATURE OF THE BOOK 18 THE DESIGN OF BOOKS 31 0'1- TYPOGRAPHY AS A VOCATION ~· DESIGN AND MANAGEMENT w ~ ~-- - 49 THE ARTIST AND TYPOGRAPHY- A WORD OF WARNING 62 TYPOGRAPHY IN ART EDUCATION 67 III 93 LIBRARY ARTISTS AND CRAFTSMEN, I, II, & THE PRIDE OF CRAFTSMANSHIP ftORI"A 115 ST A~ E U N IV E R ~ ITY TRAINING IN TASTE TALLAHASSEE, FLORIDA 123 TRADITION AND PROGRESS TRADITION AND PROGRESS IN PRINTING 129 ON THE CHOICE OF TYPEFACES 137 THE TYPOGRAPHY OF THE BIBLE 150 AN ANTHOLOGY OF VERSE AS A TYPOGRAPHIC PROBLEM, I & II 165 IMPROVING THE COMPULSORY BOOK 180 SOME NOTES ON THE BRITISH TYPOGRAPHIC REFORMATION, I 919-3 9 187 THIRTY-TWO OUTSTANDING DATES 202 Sources of Essays 211 List of Selected Writings 213 Index 215 0 t;PFt~O INTRODUCTION ACKNOWLEDGMENTS Auth01; and publisher wish to express their appreciation to Messrs Lund Humphries & Co. * Ltd, The Monotype Corporation Ltd, Messrs George Newnes Ltd, Signature and The Times IN THE EARLY NINETEEN-THIRTIES, in the small but lively Literary Supplement, by whose courtesy certain world of typographic learning, there was some grieving over of the author's essays are published in this the disappearance from title-pages of the name ofPaul Beaujon, volume. -
An Interactive Timeline Demonstrating the Evolution of Garamond
Rochester Institute of Technology RIT Scholar Works Theses 10-2018 Evolution of Garamond: An Interactive Timeline Demonstrating the Evolution of Garamond Yeseul Son [email protected] Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Son, Yeseul, "Evolution of Garamond: An Interactive Timeline Demonstrating the Evolution of Garamond" (2018). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Evolution of Garamond An Interactive Timeline Demonstrating the Evolution of Garamond By Yeseul Son A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Visual Communication Design School of Design College of Imaging Arts and Sciences Rochester Institute of Technology Rochester, New York October, 2018 Thesis Approvals Evolution of Garmoand An Interactive Timeline Demonstrating the Evolution of Garamond Submitted by Yeseul Son Date October 2018 Chief Advisor: Daniel DeLuna, Associate Professor Visual Communication Design, School of Design College of Imaging Arts and Sciences Signature of Chief Advisor Date Associate Advisor: Nancy Ciolek, Associate Professor Visual Communication Design, School of Design College of Imaging Arts and Sciences Signature of Associate Advisor Date Associate Advisor: Lorrie Frear, Professor Graphic -
The Crystal Goblet
The Crystal Goblet Key text Beatrice Warde Imagine that you have before you a flagon of Wine is so strange and potent a thing that it has 1932 wine. You may choose your own favourite vintage been used in the central ritual of religion in one for this imaginary demonstration, so that it be a place and time and attacked by a virago with a deep shimmering crimson in colour. You have hatchet in another. There is only one thing in the two goblets before you. One is of solid gold, world that is capable of stirring and altering wrought in the most exquisite patterns. The other people’s minds to the same extent, and that is the is of crystal-clear glass, thin as a bubble, and as coherent expression of thought. That is the transparent. Pour and drink; and according to human’s chief miracle, unique to us. There is no your choice of goblet, I shall know whether or not “explanation” whatever of the fact that I can you are a connoisseur of wine. For if you have no make arbitrary sounds that will lead a total feelings about wine one way or the other, you will stranger to think my own thought. It is sheer want the sensation of drinking the stuff out of a magic that I should be able to hold a one-sided vessel that may have cost thousands of pounds; conversation by means of black marks on paper but if you are a member of that vanishing tribe, with an unknown person halfway across the the amateurs of fine vintages, you will choose the world.