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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. -
Arabic Alphabet - Wikipedia, the Free Encyclopedia Arabic Alphabet from Wikipedia, the Free Encyclopedia
2/14/13 Arabic alphabet - Wikipedia, the free encyclopedia Arabic alphabet From Wikipedia, the free encyclopedia َأﺑْ َﺠ ِﺪﯾﱠﺔ َﻋ َﺮﺑِﯿﱠﺔ :The Arabic alphabet (Arabic ’abjadiyyah ‘arabiyyah) or Arabic abjad is Arabic abjad the Arabic script as it is codified for writing the Arabic language. It is written from right to left, in a cursive style, and includes 28 letters. Because letters usually[1] stand for consonants, it is classified as an abjad. Type Abjad Languages Arabic Time 400 to the present period Parent Proto-Sinaitic systems Phoenician Aramaic Syriac Nabataean Arabic abjad Child N'Ko alphabet systems ISO 15924 Arab, 160 Direction Right-to-left Unicode Arabic alias Unicode U+0600 to U+06FF range (http://www.unicode.org/charts/PDF/U0600.pdf) U+0750 to U+077F (http://www.unicode.org/charts/PDF/U0750.pdf) U+08A0 to U+08FF (http://www.unicode.org/charts/PDF/U08A0.pdf) U+FB50 to U+FDFF (http://www.unicode.org/charts/PDF/UFB50.pdf) U+FE70 to U+FEFF (http://www.unicode.org/charts/PDF/UFE70.pdf) U+1EE00 to U+1EEFF (http://www.unicode.org/charts/PDF/U1EE00.pdf) Note: This page may contain IPA phonetic symbols. Arabic alphabet ا ب ت ث ج ح خ د ذ ر ز س ش ص ض ط ظ ع en.wikipedia.org/wiki/Arabic_alphabet 1/20 2/14/13 Arabic alphabet - Wikipedia, the free encyclopedia غ ف ق ك ل م ن ه و ي History · Transliteration ء Diacritics · Hamza Numerals · Numeration V · T · E (//en.wikipedia.org/w/index.php?title=Template:Arabic_alphabet&action=edit) Contents 1 Consonants 1.1 Alphabetical order 1.2 Letter forms 1.2.1 Table of basic letters 1.2.2 Further notes -
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald. -
History of Writing
History of Writing On present archaeological evidence, full writing appeared in Mesopotamia and Egypt around the same time, in the century or so before 3000 BC. It is probable that it started slightly earlier in Mesopotamia, given the date of the earliest proto-writing on clay tablets from Uruk, circa 3300 BC, and the much longer history of urban development in Mesopotamia compared to the Nile Valley of Egypt. However we cannot be sure about the date of the earliest known Egyptian historical inscription, a monumental slate palette of King Narmer, on which his name is written in two hieroglyphs showing a fish and a chisel. Narmer’s date is insecure, but probably falls in the period 3150 to 3050 BC. In China, full writing first appears on the so-called ‘oracle bones’ of the Shang civilization, found about a century ago at Anyang in north China, dated to 1200 BC. Many of their signs bear an undoubted resemblance to modern Chinese characters, and it is a fairly straightforward task for scholars to read them. However, there are much older signs on the pottery of the Yangshao culture, dating from 5000 to 4000 BC, which may conceivably be precursors of an older form of full Chinese writing, still to be discovered; many areas of China have yet to be archaeologically excavated. In Europe, the oldest full writing is the Linear A script found in Crete in 1900. Linear A dates from about 1750 BC. Although it is undeciphered, its signs closely resemble the somewhat younger, deciphered Linear B script, which is known to be full writing; Linear B was used to write an archaic form of the Greek language. -
January List 2015
JANUARY LIST 2015 Collinge & Clark 13 Leigh Street London WC1H 9EW 0044 (0) 20 7387 7105 http://www.collingeandclark.co.uk [email protected] 1.(Alcuin Press) A Specimen of Some Printing Types in Use at the Alcuin Press, with a note on the press and its aims. 4to, 28.5cm, 15p, The Alcuin Press, Chipping Camden, 1928. Standard copy on mouldmade paper and self-wrappered and sewn. A very good to fine copy. £70 With a T.L.s, 4to, 1st January 1928, from T.A.I. Insoll, Printing Agent, to Richard de la Mare, Faber & Gwyer, extolling the Alcuin Press. "...some of the types in use are Poliphilous [sic], the Blado Italic, Garamond, Caslon, and some Cloister for display purposes. The press has printed books for Ernest Benn Ltd, the Cresset Press and others who are all well pleased both with the typography and press work ..." 2.(Aliquando Press) Majesty, Order and Beauty. Selections from the journals of T.J. Cobden- Sanderson. Edited by William Rueter. Royal 8vo, 274 X 182mm, pp.xiii[1],75[1], colophon + [portrait frontispiece], The Aliquando Press, Dundas, Ontario, December 2007. One of 40 (45) copies handset in Palatino and Sistina types with Primula ornaments and printed in red, black, and olive-green on white Hahnemuhle paper. Wood-engraved fronispiece and 4 other full-page wood engravings in colours on Japon, plus one smaller engraving within the text. Decorative gold paper-covered boards (produced in Amsterdam c.1900 by Georg Rueter the printer's great-uncle), gilt linen spine with red leather label titled in gilt.Card envelope with printed label. -
Latin Palaeography in Central Europe
Hana Patkova — Latin Palaeography in Central Europe Latin Palaeography in Central Europe Contributed by Hana Patkova Foreword: Concerning Czech Palaeography The earliest advanced palaeographical research in Bohemia dates from the late 19th century. In 1898, the first modern palaeographical handbook was published by Gustav Friedrich. Czech membership of the Comité international de paleographie latine since 1957 has ensured that research by Czech scholars has been never fully separated from the development of western palaeography. All the main topics of the Comité’s pro- jects, i.e. nomenclature of writing, catalogue of dated manuscripts (cf. http://www.palaeographia.org/cipl/ cmd.htm), and vocabulary of codicological (http://www.palaeographia.org/cipl/gloss.htm) and palaeograph- ical terms, have been engaged with by Czech researchers. As for the nomenclature project, Jiří Pražák of the Czechoslovak Academy of Sciences prepared a large study concerning the book-hands in the Czech Provinces from 11th to the 16th centuries. He and Pavel Spunar (of the same institution) discussed some more specialised terms, like “bastarda”. Pražák also began to work on a catalogue of dated manuscripts preserved in bohemian Libraries, but it did not progress beyond the preparatory stage. Jidřich Šebánek, professor of the University of Brno, wrote a new handbook at the end of the fifties , which took into account new discoveries and new research into bohemian palaeography. As for the vocabulary of palaeographical and codicological terms, this project was finished until the year 2008. Since 1990, Czech palaeographers have been able to regularly participate in the Congresses of the Comité. The membership has extended, and there are now two members from the Czech Republic, and one member from Slovakia. -
A Short History of Typography
A short history of Typography By Roger Druet Unesco Courier, July 1988 letter or Gothic, as angular and narrow as the Gothic pointed arch, answered the needs of the moment in that it took up a minimum of ll typefaces, even the most modern digitized space. The expression of thought seemed to be channeled through characters designed with the help of a computer, a kind of grid. This design gave rise to two basic scripts: the rigid, are based on forms of writing. This link between vertical Textura, used primarily for liturgical texts; and a more flexible written and printed characters is particularly script, Rotunda. noteworthy in the history of European In the fifteenth century, the angular Gothic script, having been typographical design. appropriated by the lettered classes in France, became known as AThe Phoenicians and the Greeks, who invented the early batarde or Bastarda. The invention and use of spectacles also made alphabets from which Western scripts derived, were seafaring and it possible for writing to become smaller. It was not until the end of colonizing peoples who needed to carry precise and legible messages the sixteenth century that the Germans introduced capital letters into over very long distances.Consequently the priorities of Western the Gothic alphabet for woodblock printing. Hitherto, the place of the writing were speed of execution and simplicity of design. “dropped initials”--initial letters at the beginning of a page or chapter, The creation of phonetic alphabets (instead of ideographic which covered two or three lines of text--had been left blank, to be systems) using only twenty to thirty signs for thetranscription of filled in by the illuminators. -
Fonts for Latin Paleography
FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century. -
Dynamic-Graphics-Magazine-Oct
ENTER YOUR DESIGN PROJECT FOR A FREE MAKEOVER! Design ideas for the real world TYPE SECRETS REVEALED The 6 Worst Type Crimes & HOW TO AVOID THEM Combat Project Stress 5 WAYS NOT TO LOSE YOUR MIND OCTOBER/NOVEMBER 2005 $7.95 US $8.40 CAN Tips for mastering large letters 05> dynamicgraphics.com 0274470 90182 You don’t compromise your vision and neither does Epson. Introducing the Epson Stylus® Pro 4800 Professional Edition. First impressions are important in any business, but in the graphic arts, they’re everything. You know your designs will blow them away, but only if your vision reproduces exactly as you planned. Consider our revolutionary new 8-color Epson UltraChrome K3™ ink technology. It delivers unrivaled color accuracy for stunning prints that will dazzle even your most demanding clients. Print after print, day after day, meeting after meeting. For more information, call 1.800.241.5373 or visit www.epson.com/k3. Actual price may vary. Epson, Epson Stylus, Exceed Your Vision and Epson UltraChrome K3 are trademarks/registered trademarks of Seiko Epson Corporation. All other trademarks are properties of their respective companies. ©2005 Epson America, Inc. ©Phil Marco 04 25 50 75 100 04 25 50 75 100 04 25 50 75 100 04 25 50 75 100 Rich blacks Accurate spot color matching Highly accurate photographic image quality High resolution text and line-art Unique 8-color pigment-based ink system Extreme printing resolutions up to 2880 x 1440 dpi PostScript® Language Level 3™ Compatible ColorBurst® RIP PANTONE® Licensed & SWOP® Certified Color Professional media handling, prints up to 17” wide Built-in Ethernet for both Mac and Windows platforms Epson Stylus® Pro 4800 Professional Edition only $2495 (fully loaded) 04 25 50 75 100 04 25 50 75 100 04 25 50 75 100 04 25 50 75 100 CONTENTS DYNAMIC GRAPHICS OCTOBER/NOVEMBER 2005 - VOLUME 10 NUMBER 5 FEATURES 40 Type Crimes & Misdemeanors by Michelle Taute Avoid the worst typographic transgressions. -
The Writing Revolution
9781405154062_1_pre.qxd 8/8/08 4:42 PM Page iii The Writing Revolution Cuneiform to the Internet Amalia E. Gnanadesikan A John Wiley & Sons, Ltd., Publication 9781405154062_1_pre.qxd 8/8/08 4:42 PM Page iv This edition first published 2009 © 2009 Amalia E. Gnanadesikan Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Amalia E. Gnanadesikan to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. 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 or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. -
Book Review: Never Use Futura, by Douglas Thomas Boris Veytsman Douglas Thomas, Never Use Futura
TUGboat, Volume 40 (2019), No. 1 85 Book review: Never use Futura, by Douglas Thomas Boris Veytsman Douglas Thomas, Never use Futura. Princeton Architectural Press, 2017, paperback, 208pp., US$24.95, ISBN 978-1616895723. Figure 1: The moon plaque out features based on the traditions of font design. Among these features are the classical proportions of the typeface; the subtle variations of height (the sharp tops of capital A and W are slightly above the other capital letters to create a visual uniformity of height) and pen width (the bowls of a, d, p become slightly thinner when they touch the stems). These almost imperceptible features make the typeface alive rather than mechanistic and cold. The author is fascinated by the way the history of Futura is intertwined with the history of the 20th The only extraterrestrial body visited by humans has century. Due to its German origins, Futura was an a plaque with the proud words WE CAME IN PEACE object of propaganda in the USA: \By buying Ger- FOR ALL MANKIND and signatures of Neil Arm- man fonts you help Nazis", as American foundries strong, Michael Collins, Edwin Aldrin, & Richard that sold their own clones of Futura wrote in their ad- Nixon. This plaque is typeset in Futura (Figure1), vertisements. Nevertheless, as Thomas shows, many a typeface created by German designer Paul Ren- US Army materials were set in Futura and other ner in 1927 and popularized by a German company typefaces of German origin. In Germany the fate Bauer Type Foundry. Four decades later the typeface of Futura was more complicated. -
Emmanuel Dewalt February 4, 2018 History of Graphic Design Prof
Emmanuel DeWalt February 4, 2018 History of Graphic Design Prof. Marianna Trofimova Alphabet In the latest lecture of class we discussed the different systems of the alphabet that was used long ago. There were a lot we discussed but three systems of the alphabet that we learned in particular were the Aramaic, Hebrews and Arabic alphabets. These three systems of the alphabet had there own unique way of displaying the way the letters were written and how they were used to explain what was going on at the time. At the same time these different systems of the alphabet also had some similarities to each other. The alphabet system has always been an interest of many people because of the letterforms and the way the letters were positioned. The Aramaic alphabet had a similar way the Phoenician alphabet was used but it started to break away from that style in the 8th century BCE. The Aramaic alphabet was used for Aramaic language and the letters all represent consonants, some of those letters were also used as matres lectionis to indicate long vowels. The Hebrew alphabet can be said to have certain similarities when compared to the Imperial Aramaic script that was used during the 5th century BC. The two alphabets both had the same letter inventory and similar shapes. The Aramaic alphabet was an ancestor to the Nabataean alphabet and the later Arabic alphabet. The Arabic alphabet is the Arabic script as it is codified for writing the Arabic language. It is written from right to left in a cursive style and includes 28 letters.