DOCSLIB.ORG

W. Russell Hood Collection Related to Typography and Graphic Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
W. Russell Hood Collection Related to Typography and Graphic Design Special Collections Department W. Russell Hood Collection related to Typography and Graphic Design 1569 - 1970 (bulk dates 1950 - 1969) Manuscript Collection Number: 412 Accessioned: Purchase, January 1999 Extent: 1.3 linear ft. and oversize Content: Articles, clippings, labels, stickers, bookplates, posters, prints, engravings, newspapers, advertisements, artwork, calendar Access: The collection is open for research. Processed: 2000-2001 by Tabitha D. Groh 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 Note Scope and Contents Note Series Outline Contents List Biographical Note W. Russell (Wesley Russell) Hood worked as an industrial designer with the Philco-Ford Corporation, located on Delancey Place in Philadelphia, primarily in the 1950s and 1960s. He was employed in the electronics division, product design department. Evidence from mailing labels in the collection indicates that Hood was associated with Joseph Fox Books on Sansom St. and Steinmetz Mfg. Company (labels addressed to Hood & Barnett) on Buttonwood St., both also in Philadelphia. He lived at 15 E. Mowry St. in Chester, Pennsylvania. Source: Biographical information is derived from information in the collection. Scope and Content Note The W. Russell Hood Collection related to Typography and Graphic Design is a working reference file of original and reproductive lettering and design from the sixteenth to the twentieth century, as well as articles and clippings on typography and design spanning the dates 1950-1969. The files were created by W. Russell Hood, a Philadelphia-based industrial designer. The collection is still valuable to researchers as a source of lettering and imagery, especially the popular labels and logos of Series I.1., the ornate engravings and script exercises in Series I.3., and finally the Modern imagery of the 1950s and 1960s available in Series II. The collection is organized in three series: Series I. Visual Reference Material, Series II. Reference Articles, and Series III. Original work. Most of the material is housed in either subject files or in notebooks, as originally arranged by Hood according to style or subject of the image. Series I contains specimens of lettering, printing ornaments, typography, and graphic design. Hood gathered his visual references from original texts as well as reproductions from publications and commercial ephemera of the 1960s. Of particular historic interest are a number of borders and script exercises from early printed penmanship texts, including a grouping identified as “Perret, Antwerp, 1569” and John Ayres’ A Tutor to penmanship, or, the writing master … (1698?). Several large notebooks include elements of commercial design in the form of clippings from various advertisements, letterhead, seals, and packaging from the 1960s. Hood often gathered material from consumables including candy wrappers, labels from food packaging, bottles of liquor and wine, and mailing labels. One notebook contains a series of tracings which Hood made from a text on watermarks. The pages are headed with the title “Filigranes sur papiers d’Imprimés Vénitiens.” Series II consists wholly of over 200 articles on typography and design written in the 1950s and 1960s. There is a series of biographical articles on various typographers and letterers, including Hermann Zapf, Eric Gill, and Will Carter. A small group of original designs form Series III. Included are Hood’s own studies of lettering and designs for bookplates and decorative lids, and four designs by Dr. A. Süheyl Ünver. Related Collections: MS 210 Paul A. Bennett collection MS 211 Douglas, Lester, collection MS 298 Fridolf Johnson Papers Series List I. Visual Reference Material 1. Labels and Logos 2. Images 3. Print samples – Ornaments and Lettering II. Reference Articles, 1950-1969, n.d. III. Original work 1. Artwork by Hood 2. Artwork by Dr. A. Süheyl Ünver Contents List Box -- Folder -- Contents Series I. Visual Reference Materials Series I.1. Labels and Logos Sample labels and logos from commercial packaging, corporate letterhead, mailing labels, advertising, and clippings. The arrangement and filing categories of the material were Hood’s. Twelve folders of loose sample labels and logos, followed by three notebooks with samples pasted in. Printing Layout etc. 1 F1 Assorted F2 Perugina and Bon Appetit F3 Furniture – Advertisements and labels F4 Mailing labels and stickers F5 Food and Toiletries F6 Paper Houses and Manufacturers F7 Commercial F8 Book Shops F9 Libraries, Ad Agencies, etc. F10 Antique F11 Type Foundries F12 University Presses Notebooks F13 Liquor/Wine/Beer F14 Commercial With index compiled by Hood F15 Presses/Book shops/Paper Manufacturers/Publishers With index compiled by Hood I.2. Images These images, primarily clippings from publications, were arranged according to subject matter. F16 Architecture 6 items F17 Topographica 1970 German calendar 1 item F18 Portrait [of David Hudson?] 1 item Notebooks F19 Architecture/Interior Design F20 People/Liquor/Interior Design I.3. Print samples – Ornaments and Lettering Primarily arranged by design element. F21 Early calligraphy and printing 4 items Includes four facsimiles: Reproduction of an original love letter from King Henry VIII of England to Anne Boleyn, distributed by the publisher in promotion of The Secret Archives of the Vatican (Little Brown, 1970) “…facsimile page of the 42-line Bible (1450-1455) was printed on a replica of the Gutenberg press exhibited by the Cuneo Press, Inc., … at the World’s Fair of 1940 in New York.” “…Franklin page, illuminated by hand, was set in Donat Type, on hand made paper on the Gutenberg Press from the Gutenberg Museum in Mainz, loaned to A Century of Progress International Exposition, Chicago, 1933, and exhibited by The Cuneo Press, Inc.” Reproduction of a medieval text of an ancient Roman myth, 2 leaves F22 American newpapers, 1759-185[7] 4 items The Boston Gazette and Country Journal, June 25, 1759 The Boston Gazette and Country Journal, July 1763 The Virginia Gazette, July 26, 1776 (reproduction) New York newspaper, 185[7] F23 Decorative borders with script exercises, Perret, Antwerp, 1569 4 items Printed engravings tipped in paper mattes and identified on verso “Perret, Antwerp, 1569” F24 Decorative borders, Picart, del., 1730-1731, n.d. Printed engravings, signed “Picart, del.” F25 Antiquités étrusques, grecques et romaines … Florence, 1801-1802. Hand-colored printed engravings. Title pages of volumes I and II, 2 leaves F26 Acanthus/Scroll/Ribbon ornaments, n.d. Title pages, borders, sample pages F27 Initials/Lettering Original engravings and reproductions F28 [Alfabetz Majeur et Mineur Mesurés par Roland] Engraved plates, 6 leaves F29 Ayres, John. A tutor to penmanship, or, the writing master… [London?]: sold by ye author, [1698?]. Original pages mounted on paper, 40 leaves With portfolio made by Hood. The complete text is available at the Morris Library on microfilm S1.5 1194:31. F30 Clifford & Lawton. Chronological Tree of the Design Periods. Dec 15, 1914. Reproduction, 1 leaf F31 Desiderata. Sausalito: Graphic Arts of Marin, n.d. Broadside, 1 leaf Notebooks F32 Watermarks – “Filigranes sur papiers d’Imprimés Vénitiens” Tracings of watermarks, notebook indexed by Hood F33 Borders/Flowers/Rules Sample pages, prints, ads, clippings, etc., pasted in notebook F34 Vignettes/Flowers/Borders Sample pages, prints, ads, clippings, etc., pasted in notebook F35 Initials/Lettering Sample pages, prints, ads, clippings, etc., pasted in notebook Series II. Reference Articles, 1950-1969, n.d. A table of contents for these articles was compiled by Hood, the original appears in the first folder for each “List.” A few of the articles which appear on these original lists are not included in the collection. The bibliography here, however, indicates only those articles which are available in the collection. A few articles are not in English. List 1 F36 Ryder, John and Heather Copley, ed. “Benjamin Franklin.” pp. 55-57 “Society of Typographic Designers of Canada.” Netzer, Remigius. “Imre Reiner.” Gebrauchsgraphik. Vol. 28, No. 3, 1957. p. 2-9. Loganesi, Leo. Jane Grigson, translator. “A letter to a Printer’s Daughter.” Brinkley, John. “John Woodcock: Craftsman in lettering.” Connoisseur. Vol. 167, Apr 1968. pp. 234-237. Johnson, Fridolf. “Donald Jackson: Calligrapher and Illuminator.” American Artist. May 1970. pp. 17-23, 58, 68-69. Michel, Joan Hess. “Illustrations of Peter Spier.” American Artist. Oct 1969. pp. 49-55, 82-86. Welling, Richard. “I am in love with line.” American Artist. Oct 1969. pp. 56-58, 86-88. Johnson, Fridolf. “The Typophiles … and a keepsake.” American Artist. May 1969. pp. 66-74. Brady, Sister Elizabeth Mary. “20th century book designer Eric Gill.” Print. Vol. 15, Nov 1961. pp. 41-43. Schmoller, Hans. “Autobiography in Type by Hermann Zapf.” pp. 33-48. _____________. “Hermann Zapf: Type designer.” pp. 49- 50. One page of calligraphy by Hermann Zapf. Johnson, Fridolf. “Hermann Zapf’s Letters.” American Artist. Oct 1964. pp. 42-47, 65-66. Bennett, Paul A. “Report on a visit: Hermann Zapf: Calligrapher, Type Designer, Master of Book Arts.” Publisher’s Weekly. Jan 4, 1965. pp. 72-85. Zapf, Hermann. “Printing types and books: An Expression of Their Times.” “Hermann Zapf: Type Designer and Calligrapher.” Print. Vol. 15, Mar 1961. pp. 44-49. Schauer, G.K. “Hermann Zapf: Calligrapher and Book Designer Frankfurt/Main (Germany).”
Load more

Recommended publications
  • Century 100 Years of Type in Design
    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
    [Show full text]
  • Design One Project Three Introduced October 21. Due November 11
    Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
    [Show full text]
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action.
    [Show full text]
  • Titling Fonts
    Titling Fonts by Ilene Strizver HISTORICALLY, A “titling font” WAS A FONT OF METAL TYPE designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes. They often have a more pronounced weight contrast (resulting in thinner thins), tighter spacing, and more condensed proportions than their text- sized cousins. Titling fonts may also have distinctive refinements that enhance their elegance and impact. Titling fonts are most often all-cap, single-weight variants created to complement text families, such as the These titling faces are stand-alone designs, rather than part of a larger family. a lowercase; Perpetua Titling has three ITC Golden Cockerel Titling (upper) is more streamlined than its non-titling cousin (lower). weights; and Forum Titling, based on a It also has different finishing details, as shown Frederick Goudy design, has small caps on the serif ending stroke of the C. in three weights that were added later. The overall design of most (but not all) titling fonts designed as part of the titling fonts is traditional or even historic Dante, Plantin, Bembo, Adobe in nature. In the days of metal type, Garamond Pro, and ITC Golden Cockerel titling capital letters took up the full typeface families. point size body height. For example, 48 point Perpetua titling caps were They can also be standalone designs, basically 48 points tall, whereas regular 48 point Perpetua was sized such that Dante Titling (upper) has greater weight such as Felix Titling, Festival Titling, and the tallest ascender and longest contrast and is slightly more condensed than Victoria Titling Condensed.
    [Show full text]
  • Suggested Fonts List
    Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog.
    [Show full text]
  • The Monotype Library Opentype Edition
    en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project.
    [Show full text]
  • Typeface Classification Serif Or Sans Serif?
    Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1.
    [Show full text]
  • History of Moveable Type
    History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing.
    [Show full text]
  • David Glen Smith
    David Glen Smith Fonts of Influence My intentions are to merge a thick poster font with a thinner sans serif in order to produce a Charlesworth {Charlemagne} modern letter. I hope to shift a traditional-based SPHINX OF BLACK QUARTZ JUDGE MY VOW. character into a more fluid, rounded form. (THERE ARE NO LOWERCASE CHARACTERS) The curved letters would be influenced by leaf shapes: curves, barbs, angles all which appear Poster Bodini in nature with radical variation on a simple SPHINX OF BLACK QUARTZ JUDGE MY VOW form. Which will leave room for improvisation as the font progresses. the quick brown fox jumped over the lazy dog Likewise I want to incorporate an sense of hand Helvetica Neue drawn images to allow more creative energy and individualism. SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog In the end I would like to use the new version for headers on a developing web site promoting tradional art in diverse manner. Gill Sans SPHINX OF BLACK QUARTZ JUDGE MY VOW the quick brown fox jumped over the lazy dog Font History • Gill Sans • Charlemagne Designer: Eric Gill of United Kingdom The Charlemagne font was designed by Carol Twombly and inspired Born: Brighton, 1882 Died: Uxbridge, 1940 by the 10th century Carolingian manuscripts. Charlemagne has a strong stress and extended serifs that give the capital letters of the Eric Gill studied under the renowned calligrapher, Edward John- font a distinctive charm which can be successfully exploited in adver- son, the designer of the London Underground sans serif typeface.
    [Show full text]
  • 4 Politics, Portraits, and Love
    The social lives of paintings in Sixteenth-Century Venice Kessel, E.J.M. van Citation Kessel, E. J. M. van. (2011, December 1). The social lives of paintings in Sixteenth-Century Venice. Retrieved from https://hdl.handle.net/1887/18182 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral License: thesis in the Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/18182 Note: To cite this publication please use the final published version (if applicable). 4 Politics, Portraits, and Love Francesco Bembo, Bianca Capello, and ‘the most beautiful contemporary painting in Venice’ In this fourth and last chapter, we return to the portrait of Bianca Capello. As we have seen in the Introduction, the portrait of Capello (1548-1587), the Venetian-born grand duchess of Tuscany, was owned by a Venetian patrician, a certain Francesco Bembo (1544-1599), who, in the summer of 1586, brought it to the Doge’s Palace. There, the portrait attended a dinner with the Doge and his guests; it had a private meeting with the Doge and his most trusted friends; and it spent the night in the Doge’s apartments. This chapter shows that, in fact, the portrait’s visit to the Palace was the climax of a process which had been going on for months, in which the painting attracted the attention of hundreds of people. It all started on a day in March 1586, when a package was delivered at Francesco Bembo’s house. As Bembo confided in a letter to the grand duch- ess, composed on that same day, … after almost half an hour, I unwrapped the portrait, so strongly desired by many, and particularly by me; and I was so pleased by it, that for two whole hours I did nothing but admire it, and contemplate it much to my satisfaction, for in fact, it is very beautiful in every part, and made with particular diligence by the extremely skilful Gaetano.
    [Show full text]
  • Dante Alighieri's Divine Comedy – Inferno
    DIVINE COMEDY -INFERNO DANTE ALIGHIERI HENRY WADSWORTH LONGFELLOW ENGLISH TRANSLATION AND NOTES PAUL GUSTAVE DORE´ ILLUSTRATIONS JOSEF NYGRIN PDF PREPARATION AND TYPESETTING ENGLISH TRANSLATION AND NOTES Henry Wadsworth Longfellow ILLUSTRATIONS Paul Gustave Dor´e Released under Creative Commons Attribution-Noncommercial Licence. http://creativecommons.org/licenses/by-nc/3.0/us/ You are free: to share – to copy, distribute, display, and perform the work; to remix – to make derivative works. Under the following conditions: attribution – you must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work); noncommercial – you may not use this work for commercial purposes. Any of the above conditions can be waived if you get permission from the copyright holder. English translation and notes by H. W. Longfellow obtained from http://dante.ilt.columbia.edu/new/comedy/. Scans of illustrations by P. G. Dor´e obtained from http://www.danshort.com/dc/, scanned by Dan Short, used with permission. MIKTEXLATEX typesetting by Josef Nygrin, in Jan & Feb 2008. http://www.paskvil.com/ Some rights reserved c 2008 Josef Nygrin Contents Canto 1 1 Canto 2 9 Canto 3 16 Canto 4 23 Canto 5 30 Canto 6 38 Canto 7 44 Canto 8 51 Canto 9 58 Canto 10 65 Canto 11 71 Canto 12 77 Canto 13 85 Canto 14 93 Canto 15 99 Canto 16 104 Canto 17 110 Canto 18 116 Canto 19 124 Canto 20 131 Canto 21 136 Canto 22 143 Canto 23 150 Canto 24 158 Canto 25 164 Canto 26 171 Canto 27 177 Canto 28 183 Canto 29 192 Canto 30 200 Canto 31 207 Canto 32 215 Canto 33 222 Canto 34 231 Dante Alighieri 239 Henry Wadsworth Longfellow 245 Paul Gustave Dor´e 251 Some rights reserved c 2008 Josef Nygrin http://www.paskvil.com/ Inferno Figure 1: Midway upon the journey of our life I found myself within a forest dark..
    [Show full text]