DOCSLIB.ORG

Combined-Final-Pdf.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Combined-Final-Pdf.Pdf WILLIAM ADDISON DWIGGINS CALEDONIA TYPEFACE Julie A. Farrell Copyright © 2013 Julie A. Farrell Essay copyright © 2013 Julie A. Farrell Library of Congress Catalog Number: x000111000 ISBN: 1-000000-xx-0 All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means without written permission of the publisher and author except for brief quotations in reviews or critical articles. Published in 2013 by Art 430: Typography III The Art 430: Typography III class produces books related to the history of type design. Printed in the United States of America Distributed by JAF Publishers, Baltimore, MD Cover Image: William Addision Dwiggins’ personal trademark/logo A puppet of William Addison Dwiggins Contents William Addison Dwiggins 4 Caledonia Typeface 10 The Making of Caledonia 14 Technology and Caledonia 18 Conclusion 22 Bibliography 24 William Addison Dwiggins William Addison Dwiggins was an American type designer, advertising designer, calligrapher, book designer and illustrator. Dwiggins greatly influenced the marked improvement of book design in the 1920’s and 1930’s. He is credited with coining the term ‘graphic designer’ in 1922.1 He was an accomplished individual but also embodied a fun personality. He was well respected and highly regarded. Among the many other typefaces he produced, Caledonia is one that has stood the test of time and remains with us in the digital age. WILLIAM ADDISON DWIGGINS design, producing work for numerous busi- nesses.3 Although he kept at this for twenty years, he is now remembered most as a dis- tinguished book designer, illustrator, and typographer.4 In Boston, Dwiggins met D.B. Updike and Bruce Rogers, two leaders in the de- sign and production of books. Updike em- ployed him with Merrymount Press in 1907. After World War I, when book production in the United States was at an all time high because of the growing economy, he was led to write about higher standards of book production in his pamphlet titled, Extracts from an Investigation into the Physical Properties of Books.5 It is a satirical essay in which he made up the Society of Callig- raphers and their president, Herman Püter- ILLIAM ADDISON DWIGGINS, also schein. This is one example of Dwiggins’ Wknown as WAD, was born June 19, playful attitude and creative imagination, 1880 in Ohio and died December 25, 1956 which many believe helped make him the in Massachusetts, he was 76 years old when success he was. he passed away. As a boy, Dwiggins wanted Alfred Knopf read this pamphlet and Figure 2: Carvan Borders to become an artist. He came of age during in 1923 met Dwiggins and established a the height of the influence on the turn-of- working relationship with him through the the-century Arts and Crafts movement on Plimpton Press. Dwiggins designed 340 fine printing embodied by William Mor- books for Knopf.6 The two men had over ris and his Kelmscott Press. At the age of a thirty-year association. nineteen, he attended the Frank Holme Around the same time Dwiggins also School of Illustration of Chicago. There he coined the term “graphic design” in his ar- studied typography under Fredrick Goudy, ticle “New Kind of Printing Calls for New a prolific and accomplished American type Design,” published in the Boston Evening designer, and illustration with Frank and Transcript on August 29, 1922. This term Joseph Leyendecker. In 1903, he returned used by Dwiggins describes the encom- to his home in Ohio and established the passing work of a type, typography, page Guernsey Shop, which was purposed to and ad designer.7 Philip Hofer wrote in the produce illustrated books but with a lack of Dolphin (1935) that Dwiggins was “Ameri- clientele it failed, and a year later Dwiggins ca’s one truly modern typographer, and by accepted Goudy’s invitation to join him at far her most outstanding book decorator the Village Press in Massachusetts.2 Lack and calligrapher; a mechanical wizard, type of income became a problem in work- designer, and specialist in advertising lay- ing with Goudy at the Village Press, so in out; an illustrator, mural painter, costume Boston, he began his career in advertising designer, and sculptor, a playwright, satirist, 6 WILLIAM ADDISON DWIGGINS and perhaps beyond ever the best of his art 1 Livingston, Alan and Livingston, Isabella. – a thinker and poet in prose.” Dictionary of Graphic Design and Designers (London: Thames and Hudson, 1992), 122. In 1928, Dwiggins published his most famous book, Layout in Advertising, which 2 Shaw, Paul. “Tradition and Innovation: The Design Work of William Addison Dwiggins,” Design is still used as a standard today. It was re- Figure 3: Colorful stenciled Issues, Vol. 1, No. 2 (Autumn, 1984): 26. 1948 Accessed February 22, 2013. url: http://www.jstor. issued in . The book is primarily de- ornamentation voted to the technical aspects of advertis- org/stable/1511497. ing layout, including excellent illustrative 3 Hall, Elton W. “Dwiggins, William Addison,” examples.8 In his book, he also criticizes Figure 4: Hand-signed copy American National Biography Online (2000). for LEC Accessed February 22, 2013. url: http://www.anb. American sans-serif faces in comparison org/articles/17/17-00244.html. to European designs. This led C.H. Griffith 4 Thompson, Ellen Mazur. “Early Graphic Design of Mergenthaler Linotype to commission Periodicals in America,” Journal of Design Dwiggins. To design Metroblack, a san-ser- History, Vol. 7, No. 2 (1994): 120. Accessed if used widely in America for many years.9 February 22, 2013. url: http://www.jstor.org/ stable/1316080. He went on to design a total of eighteen typefaces while with Mergenthaler Lino- 5 Hall, Elton W. “Dwiggins, William Addison,” American National Biography Online (2000). type Company. Caledonia, subsequently Accessed February 22, 2013. url: http://www.anb. furnished with a suite of decorations called org/articles/17/17-00244.html. Caravan (Fig 2), has become and American 6 Ibid classic, surviving into the digital age.10 Dwiggins’ great success was based on 7 Heller, Steven and Pettit, Elinor. Graphic Design Time Line: A Century of Design Milestones a simple principle: a book should be easy to (New York: Allworth Press, 2000), 64. read and attractive to look at. For his work, he chose easy to read typefaces, insisted on adequate margins and leading, and did not 7 WILLIAM ADDISON DWIGGINS allow decoration to intrude. His decorative style was simplistic; this is seen especially with his distinctive system of stenciled or- namentation which much of the time in- cluded skillfully used bright colors (Fig 3).11 The Limited Editions Club was founded in 1929 by George Macy to publish finely made and finely illustrated limited editions of the classics of literature. Most of the books were beautifully illustrated with orig- inal artwork by leading book illustrators. In most cases, the illustrators hand-signed each copy of the books that they illustrated for LEC (Fig 4).12 The development of his famed stencil method of illustration can be traced to his work for Direct Advertising and the paper mills.13 Figure 6: Dwiggins’ personal logo 8 Marsh, Charles, Journal of Marketing, Vol. In 1923, Dwiggins learned he had dia- 13, No. 4, Review of “Layout in Advertising” by betes. This knowledge led him to center his WA Dwiggins. (American Marketing Association, April 1949), 159. url: http://www.jstor.org/ life on things that were important to him. stable/1247803 He ended his career in advertising, which 9 Ferguson, Lorraine and Scott, Douglass. “A he called a seduction to exploit weak- Time Line of American Typography,” Design nesses of mankind. He believed in honest Quarterly, No. 148, The Evolution of American broadcast of product information but was Typography (1990): 43. Accessed February 22, appalled by the extensive research behind 2013. url: http://www.jstor.org/stable/4091232 advertising to delude the consumers.14 He 10 Hall, Elton W. “Dwiggins, William Addison,” did however, keep developing his typogra- American National Biography Online (2000). Accessed February 22, 2013. url: http://www.anb. phy and designing for LEC and other pub- org/articles/17/17-00244.html. lishers as well as Knopf. He also amused 11 Ibid himself and his friends with an elaborate marionette theater, which he designed be- 12 Majure, Bill. “A Brief History of the Limited Editions Club,” last modified 2012, http://www. neath his studio (Fig 5, 7). In addition to majure.net/lechistory.htm. winning critical acclaim for his work, he 13 Shaw, Paul. “Tradition and Innovation: The Design also earned a gold medal of the American Work of William Addison Dwiggins,” Design Institute of Graphic Arts in 1929 and an Issues, Vol. 1, No. 2 (Autumn, 1984): 27. honorary degree from Harvard University Accessed February 22, 2013. url: http://www.jstor. in 1947. Dwiggins was an accomplished org/stable/1511497. man, had many distinguished friends, and, 14 Ibid, 27. Figure 5: Dwiggins’ marrionette it seems, a lifetime of enjoyed hard work. Graphic design truly was his field. He even Figure 7: Dwiggins’ marrionette theater designed his own personal logo (Fig 6). 8 CALEDONIA TYPEFACE Caledonia typeface is classified through the ATypI system, of the Association Typographique Internationale, as a Transitional typeface. The Transitional typeface is a bridge between Old Style and Modern serifed typefaces in that it has a more vertical axis and sharper serifs than that of its predecessor. The most widely used font within this category is Times New Roman, which is easily comparable with Caledonia in similarity and disparity. However, the font most recognized in association with Transitional is Baskerville. Transitional typefaces derive their heritage from Scotch Roman Type.15 What may be considered the first of the Transitional style typeface is the King’s Roman.16 CALEDONIA TYPEFACE Figure 8: Roman du Roi HE KING’S ROMAN (Romain du Roi) 15 Ascender Fonts, “Scotch Roman Roman,” Scotch marked a significant departure from Roman Roman Type Information, 15 May T 2003, http://www.ascenderfonts.com/font/ the former Old Style types.
Load more

Recommended publications
  • Tracing Futura
    MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography Min Choi // Fall 2017 TRACING FUTURA FUTURA— the prototype of the family of geometric sans-serif typefaces. It was designed in 1927 by Paul Renner. As opposed to earlier sans-serif designs, the strokes appear to be even weight and geometric. This seems most visible in the almost perfectly round stroke of the O but Futura is actually slightly imperfect. It is often said that Futura was directly related to the Bauhaus. Renner him- self was not associated with the Bauhaus although many of the modern principles taught at the Bauhaus are incorporated into the letterform design of Futura. Futura was developed during a competitive period in the 1920s when various foundries were developing modern san serif type faces for various lead type setting technology. It would be followed by Gill Sans by U.K. Monotype designed by Eric Gill and Metro by U.S. Linotype designed by W. A. Dwiggins. Futura was one of the most popular fonts in use in the 20th century, especially in the 1950s and 1960s, and is in use in the corporate Roman- design of Volkswagen to this day. (See classic ad at left). Check out more of Volkswagen’s iconic print advertising: http://fontsinuse. The basic letterform style so com/uses/1976/volkswagen-of-america-ads-1960-66 called because it is derived from inscriptions on Roman Futura remains an important typeface family and is used world wide on a daily basis for print and digital purposes as both a headline monuments. and text font.
    [Show full text]
  • AVENIR Family
    An Introduction To The AVENIR Family By Stacey Chen O V E R V I E W l Avenir was designed by Adrian Frutiger. l The typeface was first released in 1988 with three weights, before being expanded to six weights. l In 2004, together with Akira Kobayashi, Frutiger reworked the Avenir family. l Avenir has now become a common font in web, print, and graphic design, etc. l Frutiger was born in Unterseen, Switzerland 1928. l At age 16, Frutiger was apprenticed as a compositor to a printer, while taking classes in woodcuts and drawing. l With his second wife, Frutiger had two daughters, who both experienced mental health problems and committed suicide as adolescents. l Frutiger spent most of his professional career working in Paris and living in France, returning to Switzerland later in life. A D R I A N F R U T I G E R l Charles Peignot of Deberny Et Peignot recruited Frutiger based on the quality of the wood- engraved illustrations of his essay. l Impressed by the success of Futura typeface, Peignot encouraged a new, geometric sans-serif type in competition. l Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif be based on the realist model. l In 1988, Frutiger completed the family Avenir. Frutiger intended the font to be a more human version of geometric sans-serif types popular in the 1930s, such as Erbar and Futura. A D R I A N F R U T I G E R “Avenir” = “Future” French English A V E N I R i s l Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner.
    [Show full text]
  • Linotype Matrix 4.2—The Legend Continues
    Mergenthaler Edition releases second issue of the new Linotype Matrix Linotype Matrix 4.2—the legend continues. Bad Homburg, 16 May 2006. Following its highly successful relaunch of Linotype Matrix in magazine format last year, Linotype’s publishing label, Mergenthaler Edition, is now releasing the second issue of the classic typographic journal. Linotype Matrix Issue 4.2 takes an exciting and informative look at typography in history – with a thematic focus on the great 20th century type designer William Addison Dwiggins. Within the 64 pages of this richly illustrated issue readers will find articles contributed by some of the best talents working in typography today. For instance, writer and typographer John D. Berry explores the legacy of the Deberny & Peignot type foundry, while the article on Dwiggins’ life and work has been penned by type designer and scholar Paul Shaw, an established Dwiggins authority. Additionally, renowned type historian Sylvia Werfel takes a look at how type systems make designing texts easier. 2006 marks the 50th anniversary of W. A. Dwiggins’ death—an appropriate moment to look back at the contributions of one of the first truly significant type designers from the U.S. As Paul Shaw is currently working on a doctoral dissertation at Columbia University about Dwiggins, he is able to offer an in- depth look at his prolific career as an illustrator, and tells us how, in his late forties, he began a second remarkable career in typeface design at Linotype. Dwiggins was, in fact, the first major type designer to work for the Mergenthaler Linotype Co. in New York and was responsible for creating many great designs, including Metro and Electra, and his most enduring typeface, Caledonia.
    [Show full text]
  • When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
    2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century.
    [Show full text]
  • Saint Petersburg Graphic Identity Manual
    Saint Petersburg Graphic Identity Manual (Updated January 1, 2006) When Peter the Great founded Saint Petersburg at the banks of the Neva River in 1703, he created a distinctly Russian city that rivaled those in Europe. Three hundred years later, Saint Petersburg re- mains the cultural center of Russia. Having only regained its original name in 1991, Saint Petersburg has faced difficulty in finding a strong, unwavering identity. In a rapidly growing world where infor- mation crosses oceans and continents in seconds, Saint Petersburg has the potential to reclaim its original prominence and become Russia’s voice to the world. I. BRAND PLATFORM Three hundred years of art and architecture located in Saint Petersburg enrich the city environment. A. Brand Vision A single city defines Russia. The city of Dostoevsky and Saint Petersburg is Unified. Tchaikovsky. The city of unrivaled architecture and the Saint Petersburg must be the voice of Russia, serving both magnificent white nights. The city of inspirational endur- the government and the people. At its most difficult mo- ance. Saint Petersburg will build upon Peter the Great’s vi- ments in history, citizens of Saint Petersburg have always sion as “Russia’s Gateway to Europe” and become “Russia’s stood together to overcome their problems. Decisions are Gateway to the world.” never made with just one class or neighborhood in mind. B. Brand Mission D. Brand Personality By modernizing Saint Petersburg through technological Strong and innovative, artistic and welcoming. advances while continuing to promote the city’s rich history and art, it will rival the global stature and significance of E.
    [Show full text]
  • Metro Nova; from 1929, Metro’S First Showing in Linotype’S Consensus for an Enhanced and Expanded Version ‘Big Red’ Specimen Book
    metroClassic Design — Meet Modern Versatility nova A masterpiece lost, found and reimagined When W. A. Dwiggins developed the original Dwiggins’ drawings for Metro were subtle Metro family, in 1929, he was already a celebrated where the others were sterile, graceful where the illustrator, calligrapher, book designer and writer. others were gaunt. The slanted apex of his capital In fact, his design career was so prolific and varied, ‘A’ and the old-style forms of his letters such as ‘a,’ ‘e’ he would eventually coin the term ‘graphic designer’ and ‘g’ lent a calligraphic air to his design. The public, in order to encapsulate this broad range of experience. however, though intrigued by the more humanist But when Dwiggins set out, at the age of 49, to touch, still had its heart set on the sparse designs challenge the strictly geometric modernist sans-serif of the modernist European sans. Dwiggins relented, forms popular at the time, it was the first time he making adjustments here and there, and so it had ever tried his hand at typeface design. was that the ever-popular Metro No. 2 was born. Metro No. 1, with all its quirks and old-style charm, was left to gather dust as a prop of history. And there it would have remained had it not been for the discovery, by film director Douglas Wilson, of Dwiggins’ original Metro No. 1 production drawings, stored at the Museum of Printing in North Andover, Mass. When Wilson, director of Linotype: The Film, came across these original drawings during his research, he was surprised and delighted by the ‘great old quirks and lively characters’ of Dwiggins’ original design and immediately set about commissioning a digital version to be used exclusively for the film’s credits.
    [Show full text]
  • Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century
    Keith Tam 62 Calligraphic tendencies in the development of sanserif types in the twentieth century Abstract Dissertation submitted in Sanserif typefaces are often perceived as something inextricably linked partial fulfillment of the to ideals of Swiss modernism. They are also often thought of as some- requirements for the thing as far as one can get from calligraphic writing. Yet, throughout Master of Arts in Typeface Design, University of the twentieth century and especially in the past decade or so, the design Reading, 2002 of sanserif typefaces have been consistently inspired by calligraphic writing. This dissertation hence explores the relationship between calli- graphic writing and the formal developments of sanserif typefaces in the twentieth century. Although type design is an inherently different dis- cipline from writing, conventions of calligraphic writing did and still do impose certain important characteristics on the design of typefaces that modern readers expect. This paper traces and analyzes the formal devel- opments of sanserif typefaces through the use of written forms. It gives a historical account of the development of sanserif typefaces by charting six distinct phases of sanserif designs that were in some ways informed by calligraphic writing: • Humanist sanserifs: Britain 1900s • Geometric sanserifs: 1920s–30s • Contrast sanserifs: 1920s–50s • Sanserif as a book type: 1960s–80s • Neo-humanist sanserifs: 1990s Three primary ways to create calligraphic writing, namely the broadnib pen, flexible pointed pen and monoline pen are studied and linages drawn to how designers imitate or subvert the conventions of these tools. These studies are put into historical perspective and links made to the contexts of use.
    [Show full text]
  • Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
    Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard
    [Show full text]
  • PDF Specimen
    introduction 1 Typotheque’s project History has been in development longer than any other project the foundry has ever undertaken. Its beginnings can be traced to the early 1990s when Peter Biľak experimented with decorative layering systems inspired by 19th century Tuscan types.1 Years later the project took a new twist when Biľak worked on proposals for the Twin Cities typeface.2 Decoratica, unpublished, 1994 Instead of proposing one new typeface, he presented the idea of a typeface system that could take any form, inspired by the evolution of typography. While the Twin Cities proposal was a conceptual typeface that reused existing typefaces, History goes one step further. Based on a skeleton of Roman inscriptional capitals, History includes 21 layers, 21 independent typefaces which share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles through the superimposition of layers ranging from humanist renaissance, transitional, baroque, script-like, early grotesque and 19th century vernacular to digital types. Since all these fonts share the same widths and skeleton, the most interesting things happen when various seemingly incompatible elements are combined. Just try combining pixel letters with Didot-like serifs, or put 19th century slab serifs on top of a renaissance construction. While careless use can generate freakish results resembling Frankenstein’s monster, more careful experimentation can produce not only amusing, but surprisingly fresh and usable typeface samples. Realising that controlling 21 different layers can be a daunting task, Typotheque not only delivers History as Sketches of History, 2003–2008 a set of OpenType fonts, but also provides an application called History Remixer.
    [Show full text]
  • Cadernos De Tipografia Nr.6 Fevereiro 2008 Página 1
    Cadernos de Tipografia 6 Made in USA — Part 1 — Cadernos de Tipografia Nr.6 Fevereiro 2008 página 1 CT6 – Temas aros leitores! Pela selecção de temas deste CCa derno de Tipografia – e também do Made in USA, Parte 1. seguinte – rapidamente verá que esta edição foi As letras que vieram da publicidade ...............3 consagrada a uma apresentação da Tipografia A Cromolitografia expulsa os «made in USA». Este tema de grande fôlego só tipos de chumbo ................................................. 6 pode ser abordado por um patchwork de aponta- Fundamentalistas protestantes, mentos soltos, que, no melhor dos casos, servirão pioneiros do design contemporâneo ............10 para o leitor poder construir a sua própria imagem Os móveis Shaker: paradigmas da evolução da Tipografia nos EUA. Junto com do Modernismo ................................................13 os temas tipográficos poderá ler duas excursões a Benjamin Franklin, tipógrafo ........................17 temas do Design (pág. 10-16). Neste CT 6 reuni- Frederic Wiliam Goudy .................................20 mos temas até 1930-40; o seguinte Caderno fará o Linotype: a composição mecaniza-se ..........23 inventário até aos criadores contemporâneos. A Monotype de Tolbert Lanston ..................25 Mas então existirá o «quintessential American Linn Boyd Benton .......................................... 27 font», com já foi perguntado no site typophile? Morris Fuller Benton ......................................29 Claro que sim, existem várias fontes «tipicamente A fonte Broadway
    [Show full text]
  • TUGBOAT Volume 36, Number 1 / 2015
    TUGBOAT Volume 36, Number 1 / 2015 General Delivery 2 Ab epistulis / Steve Peter 3 Editorial comments / Barbara Beeton Status of CTAN at Cambridge; RIP Brian Housley; Oh, zero! — Lucida news; First Annual Updike Prize; Talk by Tobias Frere-Jones; Monotype Recorder online; Doves Press type recovered; Textures resurfaces; LATEX vs. Word in academic publications; Miscellanea; A final admonishment 7 Hyphenation exception log / Barbara Beeton Fonts 8 What does a typical brief for a new typeface look like? / Thomas Phinney 10 Inconsolata unified / Michael Sharpe Typography 11 A TUG Postcard or, The Trials of a Letterpress Printer / Peter Wilson 15 Typographers’ Inn / Peter Flynn A L TEX 17 LATEX news, issue 21, May 2014 / LATEX Project Team 19 Beamer overlays beyond the \visible / Joseph Wright 20 Glisterings: Here or there; Parallel texts; Abort the compilation / Peter Wilson Electronic Documents 25 Online LATEX editors and other resources / Paweł Łupkowski 28 Exporting XML and ePub from ConTEXt / Hans Hagen Macros 32 The box-glue-penalty algebra of TEX and its use of \prevdepth / Frank Mittelbach Software & Tools 37 The bird and the lion: arara / Paulo Cereda 41 The SWIGLIB project / Luigi Scarso 48 Still tokens: LuaTEX scanners / Hans Hagen Hints & Tricks 55 The treasure chest / Karl Berry Book Reviews 57 Book review: Algorithmic Barriers Falling: P= NP?, by Donald E. Knuth and Edgar Daylight / David Walden 58 Book review: History of the Linotype Company, by Frank Romano / Boris Veytsman Abstracts 60 GUST: EuroBachoTEX 2014 proceedings 63 Die TEXnische Kom¨odie: Contents of issues 4/2014–1/2015 TUG Business 2 TUGboat editorial information 64 TUG 2015 election 68 TUG financial statements for 2014 / Karl Berry 69 TUG institutional members Advertisements 69 TEX consulting and production services News 71 TUG 2015 announcement 72 Calendar TEX Users Group Board of Directors TUGboat (ISSN 0896-3207) is published by the Donald Knuth, Grand Wizard of TEX-arcana † ∗ TEX Users Group.
    [Show full text]
  • My Criteria for Successful Graphic Design. Kerry Scott Ej Nkins East Tennessee State University
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2007 Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design. Kerry Scott eJ nkins East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Graphic Design Commons Recommended Citation Jenkins, Kerry Scott, "Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design." (2007). Electronic Theses and Dissertations. Paper 2068. https://dc.etsu.edu/etd/2068 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design A thesis presented to the faculty of the Department of Art & Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Fine Arts in Graphic Design by Kerry Scott Jenkins December 2006 M. Wayne Dyer, Chair David B. Dixon Catherine A. Murray Keywords: Graphic Design, Typography, Publication Design, Illustration Abstract Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design by Kerry Scott Jenkins As a graphic designer, my goal is to clearly express my clients’ message to their intended audience. Based on the diversity of my clients and their products and services, finding a consistent style in my projects might be difficult, although there are usually some typical traits.
    [Show full text]