DOCSLIB.ORG

The Practice of Typography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Practice of Typography THE PRACTICE OF TYPOGRAPHY 6b THE PRACTICE OF TYPOGRAPHY A TREATISE ON THE PROCESSES OF TYPE-MAKING, THE POINT SYSTEM, THE NAMES, SIZES STYLES AND PRICES OF PLAIN PRINTING TYPES BY THEODORE LOW DE VINNE, A.M. SECOND EDITION NEW YORK THE CENTURY CO. 1902 Copyright, 1899, by Theodore Low DeVinne. The DeVinne Press. PREFACE treatise is a summary of detached notes THIScollected by the writer since 1860. A desire to make it complete and exact has prevented its earlier publication. As an aid to this result each chapter has been revised recently by experts in different branches of printing. In its present cor- rected form it is believed that it will be found of use to all who seek for information about types which cannot be compressed within the ordinary manual of printing, or be gleaned quickly from the specimen books of many type-founders. The scope of the book has to be limited to plain types. Re- marks concerning newspaper types, typographic decorations, and recent fashions in book-work, have to be postponed. The composition of title- pages may be the subject of another treatise. In making the numerous corrections demanded by changes of fashion and new methods of manu- facture, I have not considered it judicious to change the earlier and best -known name of any type- 6 Preface foundry which has introduced a new face of type. Many of them are now branches of the American Type Founders Company. To accredit each face of type to a great company which has branches in many widely separated cities would not properly specify the maker or the place of manufacture. Acknowledgments for valuable information in the preparation of this matter are due, and are here gratefully made, to the late David Bruce, Jr., the late James Lindsay, and their successor Mr. V. B. of the New York to Mr. Munson, Type Foundry ; J. W. Phinney of Boston, Mr. L. S. Benton of New York, and Mr. Henry Barth of Cincinnati, of the American Type Founders Company to Mr. Charles T. Jacobi of the Chiswick Press," and Mr. T. W. Smith of H. W. Caslon & London to Company, ; the late William Morris of London, and Messrs. Claude Motteroz of Paris, Theodor Goebel of Stuttgart, Venancio Deslandes of the Imprensa Nacional of Lisbon, and William E. Loy of San Francisco. CONTENTS CHAPTER PAGE I The Processes of Type-making ....'. 9 ii The Names of the Leading Sizes of Types 53 in The Point System 123 iv A Font of Type 165 v Faces or Styles of Type. Old-style Roman 182 vi Modern Faces of Roman Letter 209 vn Condensed Roman Types ....... 255 vni Italic Types 269 ix Fat-face or Title-types 281 x Black-letter . 291 g xi Gothic 315 xn Antique Types, Runic, Celtic, and Italian . 323 xiii The Classes and Prices of Printing-types . 336 xiv Large Types. Wood Types. The Panto- graph. Benton's Punch-cutting Machine 345 xv Recent Quaint Styles of Plain Type ... 359 PLAIN PRINTING-TYPES The Processes of Type-mafcing 'RINTING-TYPES are made from an alloy of melted lead, tin, antimony, and sometimes copper, that fills the monld exactly and shrinks bnt little in cooling. The utility of typogra- phy depends upon the accuracy of each Types must be founded type, and the consequent squareness of a m mou thousand or a hundred thousand types in any combination. This accuracy is most certainly secured by founding each type singly in a mould. Experiments in cutting or swaging them from cold metal have hitherto been unsuccessful. Nor is there any practical substitute for type-metal : brass and copper melt at a great heat that soon wears out the mould lead and tin are too soft for ; the service is will required ; glass too brittle, and 2 9 10 Departments of Type-making not fill the matrix and cel- entirely ; gutta-percha luloid cost more and have disadvantages that out- weigh their merits. Large types for posting-bills are made from wood like Large types close-grained made from that of the box, maple, or pear tree : for hardwoods ^ branch of printin g, types of WOOd are preferred, as lighter and cheaper than those made from metal. Types of wood are seldom smaller as to height of face than one inch. They can be made smaller, but small pieces of wood warp after heat or swell after moisture and are unfit for practical work. As now practised, type-making has six distinct departments : (1) Punch-cutting, or the art of de- and the model char- 8ix depart- signing engraving ments in acters from which are made types j (2) type-making Fitting. upj or tlie art of adjusting the matrices to the moulds or the j (3) Electrotyping, art of matrices Mould- making by electrolysis ; (4) making, or the art of constructing the moulds in which types are cast, and the exact tools by which their is tested or the accuracy ; (5) Type-casting, art of in moulds founding types ; (6) Type-dress- ing, or the art of finishing the incomplete work of the type-caster. The breaking-off of surplus metal from the cast types, the rubbing-down of the feather edge made in casting, the kerning or adjusting of overhanging letters, and the final in- spection of each finished type are additional oper- ations. Every large foundry has a few workmen Punch-cutting the First Process 11 who are expert in two or three of these depart- ments, but the ordinary workman has knowledge and practice in one department only. Punch-cutting is the first process, which must be preceded by a careful drawing of the characters. No operation in typography requires j^ax-cnXr more skill than this, and in none is ting is the flrst roce88 error more disastrous. 1 The modern P punch-cutter is not fettered by arbitrary rules : he does not conform to the models devised by Albert Diirer, nor those subsequently made by French theorists in type-founding. He is at liberty to design characters that may be taller or broader, thicker or thinner, than any heretofore made, but he is required to make all the characters of a full font uniform as to style, so as to show perfect correlation. The characters must seem Type8mu8t be uniform as to height, line, stroke, serif, drawn accuratel and should be in y curve, angle ; they proper relative proportion as to size, and as to nearness and distance in all combinations. The beauty of text-types is in their precision. That free- dom of drawing which is permitted, and some- 1 Type-founding is not like If the punch-cutter has not the other arts, in which imperfect requisite ability for the work, workmanship may find a use the founder, who gives metal, proportionate to its relative and the printer, who gives value. Printing should toler- paper, cannot retrieve his er- ate nothing that is bad, nor rors. They are obliged to per- even that which is mediocre, petuate these evidences of his since it costs as much to found mean ability, and to dishonor ty- and print bad types as it does pography. Fournier, "Manuel to found and print perfect ones. Typographique," vol. i, p. 3. 12 Methods in Designing of Letters times approved, in the letters of a good penman, or in engraving, or in the types of job printers, is not tolerated in the text-types of books, which 1 ' must be precise. The assortment of characters known to printers as a font of roman book-type requires the en- graving of 150 punches : 29 large capitals, including and CE 29 small and &, M, j capitals, including &, JE, ce 33 lower-case ; characters, including fi, fl, ff, ffi, ffl, and ce 19 and fractions 22 refer- se, j figures ; points, and 18 other characters. Accents ences, signs ; and the special signs required for some books are not furnished in the regular assortment. These characters are divided into six classes of irregular heights of face : (1) Full-bodied letters, like Q and j that occupy the entire body of the 1 Diirer's rules and diagrams planations of it are given in his for the formation of letters, in "Regulse Trium Ordinum Lit- " his Unterweysung der Mes- erarum Typographicarum " of " sung of 1524, are reprinted 1676. The extreme of scientific in "Die Initialen der Renais- precision was attempted by a sance," by Camillo Sitte and commission of the "Academie " Josef Salb (folio, Vienna, 1882). des Sciences of Paris, appoint- Geoffrey Tory of Paris, in his ed in 1694, of which M. Jaugeon " " Champfleury of 1529; Ycair was the chief. He recommended of Saragossa, in his "Ortho- the projection of every roman Practica " of 1548 graphia ; and capital on a framework of 2304 " Paccioli of Venice, in his De little squares, and on a congeries Divina Proportione" of 1509, of squares and rhomboids and have also devised geometrical curves for lower-case and italic formulas for letters. Moxon's letters. These rules and dia- scheme for the plotting out of grams no doubt are of some use each letter in little squares 42 to designers of letters, but they wide and 42 high is illustrated in have never been fully adopted the text (p. 13), and detailed ex- by any punch-cutter. Types Must be Made by Rule 13 type; (2) Ascending letters, like A, b, h, d, that occupy the upper three-fourths of the body; (3) like that Descending letters, p, y, g, q, irregular occupy the lower three-fourths of the heights of characters body; (4) Short letters like a, o, that occupy about one-half of the body in the middle part; (5) Small capitals, that are sometimes in height more than one-half of the body, but not as high as the ascending letters; (6) Irregular characters, like the *, that have no arbitrary height, but do have a definite position.
Load more

Recommended publications
  • Inland Foundry
    Inland Type Foundry Die Firma wurde 1894 in St. Louis gegründet durch die Söhne (William, Oswald und Carl jr.) von Carl Schraub- stadter, Teilhaber der Central Type Foundry, die 1892 zur American Type Founders kam. Das erste Musterbuch erschien 1895. In dieser Firma wurde die American Standard Line von Nicholas Joseph Werner entwickelt. Sie bildete das Vorbild für die Deutsche Normal- Schriftlinie, die durch Genzsch & Heyse in Deutschland eingeführt wurde. Im Jahre 1911 wurde die Firma von der American Type Founders Comp. übernommen. Einige Schriften kamen zu Barnhart Bros. & Spindler, Chicago, die sie teilweise um- benannten, um sie dann in ihr Schriftprogramm aufzunehmen. Alfred 1909 Avil 1904 Becker 1899 Nicholas J. Werner Blair 1900 Blair Condensed Blanchard Series 1899 Blanchard Italic 1900 Blanchard Light Face 1901 Blanchard Condensed 1901 Brandon 1898 Nicholas J. Werner Linotype (Engravers Bold Face) Brandon Gothic Bruce Title 1896 Nicholas J. Werner Cardinal Cardinal Italic Caslon Heavy 1906 Caslon Condensed 1907 Comstock 1902 Comstock Condensed 1905 Corbitt Condensed 1902 Corbitt Series 1900 Nicholas J. Werner Cosmopolitan 1896 Courts Series 1900 http://www.klingspor-museum.de Dorsey Series 1904 Dorsey Light Dorsey Light Italic 1910 Dorsey Condensed 1910 Dorsey Extra Condensed 1910 Drew Series 1910 Edwards Series vor 1899 Faust 1899 Foster 1905 William A. Schraubstadter Foster Condensed 1908 Francis 1904 Gothic No. 8 vor 1900 Nicholas J. Werner Haight 1902 A. V. Haight Havens Series 1902 Hearst 1902 Solotype Hearst Italic 1903
    [Show full text]
  • Introduction by the Editor
    INTRODUCTION BYTHE EDITOR HEN Dante Gabriel Rossetti, Edward Burne- Jones, William Morris, and some fellow-artists painted on the damp walls of the Oxford Un- ion debating hall in 1857, their ignorance of fresco technique led them to produce haunt- ing images of the Middle Ages which, in ghostly fashion, began to fade almost immedi- ately; but the more permanent legacy of this episode was a body of richly revealing anecdotes about the Pre- Raphaelites themselves. Burne-Jones, for example, recalled that Mor- ris was so fanatically precise about the details of medieval costume Figure 1 that he arranged for "a stout little smith" in Oxford to produce a suit of armor which the painters could use as a model. When the basinet arrived, Morris at once tried it on, and Burne-Jones, working high above, looked down and was startled to see his friend "embedded in iron, dancing with rage and roaring inside" because the visor would not lift.1 This picture of Morris imprisoned and blinded by a piece of medie- val armor is an intriguing one: certainly it hints at an interpretation of his career that is not very flattering. But we ought to set alongside it another anecdote, from the last decade of Morris's life, the symbol- ism of which seems equally potent. Early in November 1892, young Sydney Cockerell, recently hired by Morris to catalogue his incunab- ula and medieval manuscripts, spent the entire day immersed in that remote age while studying materials in Morris's library. As evening approached, he emerged again into the nineteenth century (or so he thought) and climbed the staircase of Kelmscott House: "When I went up into the drawing room to say goodnight Morris and his wife were playing at draughts, with large ivory pieces, red and white.
    [Show full text]
  • Abstracts Povzetki
    PLACES, SPACES AND THE PRINTING PRESS: IMPRINTING REGIONAL IDENTITIES KRAJI, PROSTORI IN TISKARNE: ODTISI REGIONALNIH IDENTITET INTERNATIONAL SCIENTIFIC ONLINE CONFERENCE MEDNARODNA ZNANSTVENA KONFERENCA NA SPLETU 24. MAREC 2021 EDITORIAL BOARD dr. Ines Vodopivec dr. Caroline Archer-Parré Žiga Cerkvenik Maj Blatnik Jana Mahorčič Tomaž Bešter ORGANIZING COMMITTEE Žiga Cerkvenik Maj Blatnik ORGANIZERS Centre for Printing History and Culture at Birmingham City University at University of Birmingham, United Kingdom / Center za tiskarsko zgodovino in kulturo na Mestni univerzi Birmingham, Združeno kraljestvo National and University Library, Ljubljana, Slovenia / Narodna in univerzitetna knjižnica, Ljubljana, Slovenija. PUBLISHED BY NATIONAL AND UNIVERSITY LIBRARY, LJUBLJANA, SLOVENIA Publication is available online in PDF format at: Publikacija je dostopna v PDF formatu na spletni strani: http://www.dlib.si/details/URN:NBN:SI:doc-PDMSAPDI/ 24. 3. 2021 National and University Library, Ljubljana, copyright 2021 This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. 2 THE CONFERENCE THEME ‘Place’ is a physical entity and relates to specific locations—geographical or architectural—where particular activities are conducted. ‘Space’, on the other hand, is abstract; it is the intellectual, cultural and experiential environment in which individuals or groups congregate and collaborate. Place and space are significant to the progress of all trades, but, with the exception of the James Raven’s Bookscape: geographies of printing and publishing in London, these concepts have generally been overlooked when it comes to printing and the products of the press.
    [Show full text]
  • Kemble Z3 Ephemera Collection
    http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research.
    [Show full text]
  • A Catalogue of the Wood Type at Rochester Institute of Technology David P
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at 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]. School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to Certify that the Master's Thesis of David P. Wall With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type.
    [Show full text]
  • INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
    INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.
    [Show full text]
  • Frick Fine Arts Library
    Frick Fine Arts Library William Morris’s The Kelmscott Chaucer & Other Book Arts Library Guide No. 16 "Qui scit ubi scientis sit, ille est proximus habenti." Brunetiere* Before Beginning Research FFAL hours: M-H, 9-9; F, 9-5; Sa-Su, Noon – 5 Hillman Library – Special Collections – 3rd floor: M-F, 9:00 – Noon and 1:00 – 5:00; Closed on weekends. Policies: Food and drink may only be consumed in the building’s cloister and not in the library. Personal Reserve: Undergraduate students may, if working on a class term paper, ask that books be checked out to the “Personal Reserve” area where they will be placed under your name while working on your paper. The materials may not leave the library. Requesting Items: All ULS libraries allow you to request an item that is in the ULS Storage Facillity at no charge by using the Requests Tab in Pitt Cat. Items that are not in the Pitt library system may also be requested from another library that owns them via the Requests tab in Pitt Cat. There is a $5.00 fee for journal articles using this service, but books are free of charge. Photocopying and Printing: There are two photocopiers and one printer in the FFAL Reference Room. One photocopier accepts cash (15 cents per copy) and both are equipped with a reader for the Pitt ID debit card (10 cents per copy). Funds may be added to the cards at a machine in Hillman Library by using cash or a major credit credit car; or by calling the Panther Central office (412-648-1100) or visiting Panther Central in the lobby of Litchfield Towers and using cash or a major credit card.
    [Show full text]
  • ISSN 0022-2224 August 2016 Published Continuously Since 1967
    the journal of visual communication research special issue: reecting of 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors 50 .2 ISSN 0022-2224 august 2016 Published continuously since 1967. Visible Language the journal of visual communication research special issue: Relecting on 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors August 2016 Visible Language 50.2 Contents The Xerox Alto Font Design System Patrick Baudelaire 12 — 25 The Digital Typefoundry Matthew Carter 26 — 37 Advisory Board Naomi Baron – The American University, Washington, D.C. two letters: 1968 & 2016 Michael Bierut – Pentagram, New York, NY Charles Bigelow – Type designer Schmoller & Matteson Matthew Carter – Carter & Cone Type, Cambridge, MA 38 — 39 Keith Crutcher – Cincinnati, OH Mary Dyson – University of Reading, UK Jorge Frascara – University of Alberta, Canada / Universidad de las Americas Puebla Ken Friedman – Swinburne University of Technology, Melbourne, Australia Communication of Mathematics with TEX Michael Golec – School of the Art Institute of Chicago, Chicago, IL Barbara Beeton, Richard Palais Judith Gregory – University of California-Irvine, Irvine, CA Kevin Larson – Microsoft Advanced Reading Technologies 40 — 51 Aaron Marcus – Aaron Marcus & Associates, Berkeley, CA Per Mollerup – Swinburne University of Technology, Melbourne, Australia Commercial at @ Tom Ockerse – Rhode Island School of Design, Providence, RI Sharon Poggenpohl – Estes Park, CO James Mosley Michael Renner – The Basel School of Design – Visual Communication Institute, 52 — 63 Academy of Art and Design, HGK FHNW Stan Ruecker – IIT, Chicago, IL Katie Salen – DePaul University, Chicago, IL Letterform Research: an academic orphan Peter Storkerson – Champaign, IL Karl van der Waarde – Avans University, Breda, The Netherlands Soie Beier Mike Zender – University of Cincinnati, Cincinnati, OH 64 — 79 2 3 Visible Language special issue: Typography 50.2 Orthographic Processing and Reading Jonathan Grainger 80 — 101 Reading Digital with Low Vision Gordon E.
    [Show full text]
  • The Sensualistic Philosophy of the Nineteenth Century
    THE SENSUALISTIC PHILOSOPHY THE NINETEENTH CENTURY, CONSIDERED ROBERT L. DABNEY, D.D., LL.D., PROFESSOR IN DIVINITY IN THE UNION THEOLOGICA\. SEMINARY, OF THE PRESBYTER1AH CHURCH OF THB SOUTH PRINCE EDWARD, VA. EDINBURGHl T. & T. CLARK, 38 GEORGE STREET. 1876. CONTENTS. CHAPTER. PAGE. I. THE ISSUE STATED, i II. REVIEW OF THE SENSUALISTIC PHILOSOPHY OF THE PREVIOUS CENTURY. HOBBES, LOCKE, CONDIL- LAC, HELVETIUS, ST. LAMBERT, ... 7 III. ANALYSIS OF THE HUMAN MIND, . .52 IV. SENSUALISTIC ETHICS OF GREAT BRITAIN, . 85 V. POSITIVISM, 93 VI. EVOLUTION THEORY, 107 VII. PHYSIOLOGICAL MATERIALISM, . -131 VIII. SPIRITUALITY OF THE MIND, .... 137 IX. EVOLUTION THEORY MATERIALISTIC, THEREFORE FALSE, 165 X. VALIDITY OF A-PRIORI NOTIONS, . 208 XI. ORIGIIJ OF A-PRIORI NOTIONS, . 245 XII. REFUTATION OF SENSUALISTIC ETHICS, . 287 XIII. PHILOSOPHY OF THE SUPERNATURAL, . 337 .13.15892 SENSUALISTIC PHILOSOPHY. CHAPTER I. THE ISSUE STATED. TT^NGLISHMEN and Americans frequently use the ^ word "sensualist" to describe one in whom the animal appetites are predominant. We shall see that it is a just charge against the Sensualistic philosophy, that it not seldom inclines its advocates to this dominion of beastly lusts. But it is not from this fact that we draw the phrase by which we name it. The Sensualistic philosophy is that theory, which resolves all the powers of the human spirit into the functions of the five senses, and modifications thereof. It is the philosophy which finds all its rudiments in sensation. It not only denies to the spirit of man all innate ideas, but all innate powers of originating ideas, save those given us from our senses.
    [Show full text]
  • The English Renaissance in Context: Looking at Older Books
    The English Renaissance in Context: Looking at Older Books The History of the Book Books from the 16th and 17th centuries are both quite similar to and different from books today. The similarities include such things as use of the Codex format, general page layouts, use of title pages, etc. The codex book has been around for a long time. Its roots go back to the age of Cicero, though it only comes into more general use with the spread of Christianity throughout the later Roman Empire in the 4th and 5th centuries CE. Since then, the codex book has undergone a long and gradual evolution during which time the book, its properties, and characteristics became firmly embedded in Western consciousness. Roughly speaking, the general layout of the page that we use today came into existence in the 13th century, with the rise of the universities and the creation of books for study. It is possible, for example, to look at a page in a medieval manuscript and experience a general orientation to it, even if you cannot actually read the text. The evolution of the book, we emphasize, was slow. Such conventions as pagination, title pages, foot or endnotes, tables of contents, indices, et alia are by and large relatively recent additions. We take these features for granted; but prior to the age of Gutenberg, they are hard to find. University of Pennsylvania Libraries - 1 - Furness Shakespeare Collection The English Renaissance in Context: Looking at Older Books Renaissance books can certainly look very different from books today. They exhibit a variety and diversity that have long since been standardized and homogenized.
    [Show full text]
  • Typographic Design: Form and Communication
    Typographic Design: Form and Communication Fifth Edition Saint Barbara. Polychromed walnut sculpture, fifteenth- century German or French. The Virginia Museum of Fine Arts. Typographic Design: Form and Communication Fifth Edition Rob Carter Ben Day Philip Meggs JOHN WILEY & SONS, INC. This book is printed on acid-free paper. Copyright © 2012 by John Wiley & Sons, Inc. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750- 8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or on-line at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials.
    [Show full text]
  • 566,581 Sept. 4, 1951
    Sept. 4, 1951 W. PETERSON 2 566,581 STEREOTYPE CASTING MACHINE Original Filed March ill, 1948 Z2222227 2e A222s22. 3-2 22.2%v1. Patented Sept. 4, 1951 2,566,581 UNITED STATES PATENT OFFICE 2,566,581 sTEREOTYPE CASTING MACHINE Wayne Peterson, Moorhead, Minn. Continuation of application Serial No. 14262, March 11, 1948. This application April 28, 1950, Serial No. 158,747 1 Claim. (C. 22-3) My invention relates generally to stereotype cated at 8) is an elongated metal box or melting casting machines, and, more Specifically, to a pot 9, which has upwardly-diverging sides O. A stereotype casting machine scorcher combina tilting lever is secured fast to the metal box 9 tion. The present application is a continuation through one of the pivot connections 8 for tilting of application Serial No. 14262, filed March 11, the metal pot 9 when it is desired to pour through 1948, now abandoned. a Suitable pouring spout 2. formed in the rear The primary object of my invention is the pro wall. Othereof. It will be observed that the pivot vision of a novel arrangement, including casting connections 8 are located to one side of the platens, metal pot, heater, and scorcher, wherein longitudinal center of the metal box 9. A front the heat utilized to melt type metal in the mettal 0. Wall 0 of the metal box is provided with a for port is also utilized for heating the Scorcher Wardly-projecting flange 3, which is adapted to platen. normally rest upon a Supporting bracket 4 con Another object of my invention is the provision necting its opposite ends to forward edges of the of a novel scorcher having relatively fixed and upStanding flanges 7.
    [Show full text]