Artists' Books, History, Jae Jennifer Rossman
Back to the Arts of the Book Collection
The first forerunner to contemporary artists' books is probably the British artist William Blake, who worked in the late 1700's and early 1800's. Blake was a poet, painter and printmaker. He wanted to integrate his visual and written work. While Blake produced traditional format books, he was radical in his desire to integrate the text and visuals on each page. He developed a new printing method that allowed for this integration. [1] What is especially notable about Blake is his role as a predecessor of the sentiments expressed by book artists of the 1960's. Blake was "seeking a means of bringing the production of illustrated texts under his own control so that he could become his own publisher, independent of commercial publishers and letterpress printers." [2] This independence is key to the creation of an artist's book. [Ler mais...]
20/09/2007
Histoire du livre d'artiste
CURSUS vol. 9 no 1 - Histoire du livre d'artiste
Cursus est le périodique électronique étudiant de l'École de bibliothéconomie et des sciences de l'information (EBSI) de l'Université de Montréal. Ce périodique diffuse des textes produits dans le cadre des cours de l'EBSI.
Cursus est le périodique électronique étudiant de l'École de bibliothéconomie et des sciences de l'information (EBSI) de l'Université de Montréal. Ce périodique diffuse des textes produits dans le cadre des cours de l'EBSI.
The Design Encyclopedia
Welcome to the Design Encyclopedia
A growing, collaborative resource that describes, tracks and explains culture, commerce, politics, media, sports, brands – everything possible, really – through design.
A growing, collaborative resource that describes, tracks and explains culture, commerce, politics, media, sports, brands – everything possible, really – through design.
19/09/2007
Giambattista Bodoni
_King of typographer, typographer of kings Graphis
Graphis, Jul/Aug 2001 by Brechbuhl, Beat
A historical portrait of the greatest Italian typographer of the 18th century.
By Beat Brechbuhl
On the last day of November, 1813, the great bell at the Parma Cathedral rang-somewhat more sluggishly than usual-signaling that a major figure of the court or a member of a ruling family had died. Sure enough, Giambattista Bodoni: "II re dei tipografi, tipografo dei," had passed away at the age of 73 in the Officina Bodoni, his printing shop at the former Farnese Palace la Pilotta. Bodoni left behind not only 289 typefaces designed and engraved by his own hand, the Oratio Dominico, exemplary specimen books, and more than 1,000 volumes printed at his press and using his typefaces, but also his incomplete masterpiece, the Manuale Tipografico. Bodoni also left behind his wife Margherita Dallaglio, 20 years his junior.
Giambattista Bodoni was born on February 26, 1740, in Saluzzo, Piedmont, Italy. Both his father and his grandfather before him were printers, so it was hardly surprising that the young Giambattista elected to learn the same trade. For his apprenticeship he went straight to the top: Propaganda Fide, the Vatican's printing house in Rome, and there he learned how to draw and engrave type, the art of typesetting and printing, and the basics of papermaking. This erudite environment was the ideal place for a young man thirsty for skills and knowledge: he learned foreign languages and the scripts of cultures from Greece to Russia to China, as well as Ulfilas Gothic, Etruscan and Armenian, and studied philosophy and history. It also was at the Propaganda Fide that he printed, at the age of 22, his first books: an Arabic-Coptic missal and the Tibetan alphabet. To the eyes of his masters these works were so accomplished that he was allowed to put his own name on them: Romae excudehat Johannes Baptista Bodonus Salutiensis. After five years of his apprenticeship, Bodoni had not only mastered his trade, but had learned many foreign scripts as well, such as Punic and Tatarian Manchu, and was promoted to head of exotic scripts. [Ler mais...]
...
Graphis, Jul/Aug 2001 by Brechbuhl, Beat
A historical portrait of the greatest Italian typographer of the 18th century.
By Beat Brechbuhl
On the last day of November, 1813, the great bell at the Parma Cathedral rang-somewhat more sluggishly than usual-signaling that a major figure of the court or a member of a ruling family had died. Sure enough, Giambattista Bodoni: "II re dei tipografi, tipografo dei," had passed away at the age of 73 in the Officina Bodoni, his printing shop at the former Farnese Palace la Pilotta. Bodoni left behind not only 289 typefaces designed and engraved by his own hand, the Oratio Dominico, exemplary specimen books, and more than 1,000 volumes printed at his press and using his typefaces, but also his incomplete masterpiece, the Manuale Tipografico. Bodoni also left behind his wife Margherita Dallaglio, 20 years his junior.
Giambattista Bodoni was born on February 26, 1740, in Saluzzo, Piedmont, Italy. Both his father and his grandfather before him were printers, so it was hardly surprising that the young Giambattista elected to learn the same trade. For his apprenticeship he went straight to the top: Propaganda Fide, the Vatican's printing house in Rome, and there he learned how to draw and engrave type, the art of typesetting and printing, and the basics of papermaking. This erudite environment was the ideal place for a young man thirsty for skills and knowledge: he learned foreign languages and the scripts of cultures from Greece to Russia to China, as well as Ulfilas Gothic, Etruscan and Armenian, and studied philosophy and history. It also was at the Propaganda Fide that he printed, at the age of 22, his first books: an Arabic-Coptic missal and the Tibetan alphabet. To the eyes of his masters these works were so accomplished that he was allowed to put his own name on them: Romae excudehat Johannes Baptista Bodonus Salutiensis. After five years of his apprenticeship, Bodoni had not only mastered his trade, but had learned many foreign scripts as well, such as Punic and Tatarian Manchu, and was promoted to head of exotic scripts. [Ler mais...]
...
14/09/2007
11/09/2007
Type on the Web
Excerpted from the article originally published in Communication Arts November 1997.Given the limits that html, the language used to compose Web pages, imposes on Web typesetting, the idea of “type on the Web” might be considered an oxymoron. Despite this, the Web offers a wealth of information and resources on digital type and has created new opportunities for companies to market type products, which complements the conventional ways type has been promoted in the past. On the plus side the Internet has made it very convenient to download information or software (i.e., pdf files, upgrades, shareware, etc.). On the downside the Internet can easily facilitate illegal distribution of licensed software—it’s just as easy to copy a public domain, shareware typeface or software program as it is to copy pirated versions of licensed products posted onto public servers. Perhaps a bigger problem is that the desire for inexpensive type has created a market for digital type produced by third-party vendors, some of whom appropriate existing outlines then rename, repackage and resell the original type at bargain rates. One of the best sites on the legal aspects of type and other related issues is TypeRight (www.typeright.org), an organization comprised of type designers, developers, foundries and aficionados whose purpose is “to promote typefaces as creative works and to advocate their legal protection as intellectual property.” The TypeRight site has the most current information on legal issues of type including feature articles, FAQs, an overview of type laws, a petition to the U.S. Copyright Office to revise existing laws giving typeface design more protection and links to other related sites. Most established foundries have online versions of their catalogs and offer a variety of ways to order their products: either via e-mail (this is risky without some sort of secured means to transmit a credit card number), by phone during business hours or online through a secured server. [Ler mais...]
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03/09/2007
A Brief History of Type
Thomas W. Phinney contributes the following discussion of the history.
Foreword
It is difficult to cover all the developments and movements of typography in a short space. My separation of evolving technologies from the development of typefaces is an artificial one---designs and the technology used to create them are not truly separable---but perhaps it is conceptually useful.
Where names of typefaces are used, I attempt to use the original name: there are often clones with very similar names.
I shall update, clarify and correct this essay periodically, and will be happy to credit contributors. I can be e-mailed on CompuServe at 75671,2441 (Internet: tphinney@compuserve.com).
Type Technology — The Four Revolutions
Gutenberg (ca. 1450-1480) & The Impact of Printing
Before the printing press, books were produced by scribes (at first, primarily based in monasteries, although by the 12th century there were many lay copiers serving the university market). The process of writing out an entire book by hand was as labor-intensive as it sounds (try it some time): so much so that a dozen volumes constituted a library, and a hundred books was an awe- inspiring collection.
This remained true until the invention of movable type, the perfection of which is attributed to Johannes Gutenberg (although the Chinese had it several centuries earlier, and a Dutch fellow named Coster may have had some crude form a decade earlier). Gutenberg, although a man of vision, did not personally profit from his invention. He worked for over a decade with borrowed capital, and his business was repossessed by his investors before the first mass-produced book was successfully printed — the Gutenberg Bible of 1454, printed in Mainz by Fust and Schoeffer.
Gutenberg's basic process remained unchanged for centuries. A punch made of steel, with a mirror image of the letter is struck into a piece of softer metal. Molten metal is poured into this, and you get type. The type is put into a matrix to form the page of text, inked, then pressed into paper.
Within several decades typesetting technology spread across Europe. The speed with which it did so is impressive: within the first fifty years, there were over a thousand printers who set up shops in over two hundred European cities. Typical print runs for early books were in the neighborhood of two hundred to a thousand books.
Some of these first printers were artisans, while others were just people who saw an opportunity for a quick lira/franc/pound. The modern view of a classical era in which craftsmanship predominated appears unjustified to scholars: there has always been fine craft, crass commercialism, and work that combines both.
To those who have grown up with television, radio, magazines, books, movies, faxes and networked computer communications it is difficult to describe just how much of a revolution printing was. It was the first mass medium, and allowed for the free spread of ideas in a completely unprecedented fashion. The Protestant Reformation might not have occurred, or might have been crushed, without the ability to quickly create thousands of copies of Luther's Theses for distribution.
Many groups sought to control this new technology. Scribes fought against the introduction of printing, because it could cost them their livelihoods, and religious (and sometimes secular) authorities sought to control what was printed. Sometimes this was successful: for centuries in some European countries, books could only be printed by government authorized printers, and nothing could be printed without the approval of the Church. Printers would be held responsible rather than authors for the spread of unwanted ideas, and some were even executed. But this was a largely futile struggle, and most such restraints eventually crumbled in the western world.[Ler mais...]
Foreword
It is difficult to cover all the developments and movements of typography in a short space. My separation of evolving technologies from the development of typefaces is an artificial one---designs and the technology used to create them are not truly separable---but perhaps it is conceptually useful.
Where names of typefaces are used, I attempt to use the original name: there are often clones with very similar names.
I shall update, clarify and correct this essay periodically, and will be happy to credit contributors. I can be e-mailed on CompuServe at 75671,2441 (Internet: tphinney@compuserve.com).
Type Technology — The Four Revolutions
Gutenberg (ca. 1450-1480) & The Impact of Printing
Before the printing press, books were produced by scribes (at first, primarily based in monasteries, although by the 12th century there were many lay copiers serving the university market). The process of writing out an entire book by hand was as labor-intensive as it sounds (try it some time): so much so that a dozen volumes constituted a library, and a hundred books was an awe- inspiring collection.
This remained true until the invention of movable type, the perfection of which is attributed to Johannes Gutenberg (although the Chinese had it several centuries earlier, and a Dutch fellow named Coster may have had some crude form a decade earlier). Gutenberg, although a man of vision, did not personally profit from his invention. He worked for over a decade with borrowed capital, and his business was repossessed by his investors before the first mass-produced book was successfully printed — the Gutenberg Bible of 1454, printed in Mainz by Fust and Schoeffer.
Gutenberg's basic process remained unchanged for centuries. A punch made of steel, with a mirror image of the letter is struck into a piece of softer metal. Molten metal is poured into this, and you get type. The type is put into a matrix to form the page of text, inked, then pressed into paper.
Within several decades typesetting technology spread across Europe. The speed with which it did so is impressive: within the first fifty years, there were over a thousand printers who set up shops in over two hundred European cities. Typical print runs for early books were in the neighborhood of two hundred to a thousand books.
Some of these first printers were artisans, while others were just people who saw an opportunity for a quick lira/franc/pound. The modern view of a classical era in which craftsmanship predominated appears unjustified to scholars: there has always been fine craft, crass commercialism, and work that combines both.
To those who have grown up with television, radio, magazines, books, movies, faxes and networked computer communications it is difficult to describe just how much of a revolution printing was. It was the first mass medium, and allowed for the free spread of ideas in a completely unprecedented fashion. The Protestant Reformation might not have occurred, or might have been crushed, without the ability to quickly create thousands of copies of Luther's Theses for distribution.
Many groups sought to control this new technology. Scribes fought against the introduction of printing, because it could cost them their livelihoods, and religious (and sometimes secular) authorities sought to control what was printed. Sometimes this was successful: for centuries in some European countries, books could only be printed by government authorized printers, and nothing could be printed without the approval of the Church. Printers would be held responsible rather than authors for the spread of unwanted ideas, and some were even executed. But this was a largely futile struggle, and most such restraints eventually crumbled in the western world.[Ler mais...]
02/09/2007
Nick Shinn
Foundry
Shinntype was founded in Toronto in 1998 to publish the type designs of Nick Shinn, and has since released sixteen retail typeface families. Shinntype fonts are available from Faces, Fonts.com, FontHaus, FontShop, Fontworks, MyFonts, Phil’s Fonts and Veer. Commissioned work is also undertaken, most notably a typeface to commemorate the author Mordecai Richler, in 2001. Custom types have been produced for newspapers such as The Birmingham News (Alabama), The Chicago Tribune, The Daily Express (London), The Daily Mail (London), The Globe and Mail (Toronto), The Montreal Gazette, and The St. Petersburg Times (Florida). Fonts with exclusive rights have been created for corporations such as Thomson Nelson, Enbridge, Rogers Communications Inc., and Martha Stewart Living.
Designer
Nick Shinn, R.G.D. was born in London, England in 1952, educated at Bedford, and acquired a Dip.AD in Fine Art (1974) from Leeds Polytechnic, Yorkshire. He has lived in Toronto since 1976. During the 1980s he was an art director and creative director at a number of advertising agencies, and a partner in the environmental marketing company Earthmark from 1988 to 1990. He went digital in 1989 and started the Shinn Design studio, which specialized in publication and marketing design during the 1990s. He has been a member of the Association of Registered Graphic Designers of Ontario (R.G.D.) since its inception in 1996.
Scope
Between 1980 and 1998 Shinn designed seven type families for a variety of foundries. In 1998 he went into the font business full time, launching Shinntype to publish and market his fonts worldwide. Shinn's background as an artist, writer, art director and graphic designer informs his eclectic type designs, which run the gamut from revivals to experimental work exploring new technology, and are used in everything from packaging and advertising to internet, book, magazine, and newspaper publishing around the world. He has created dozens of retail fonts, including the casual classic Fontesque, the unicase-monowidth poetry face Panoptica, and the OpenType script face Handsome Pro. He is currently developing a suite of typefaces for international use, with Latin, Greek, and Cyrillic alphabets.
Other
Shinn has written for magazines such as Applied Arts, Druk, Eye, Graphic Exchange, Marketing, and Typographic, has spoken at the ATypI, TypeCon and Graphika conferences, and taught at Seneca College and York University in Toronto. From 2002 to 2006 he served as a board member of the Society of Typographic Aficionados (SOTA), which puts on the international conference TypeCon every year, helping bring it to Toronto in 2002. [Ler mais...]
Shinntype was founded in Toronto in 1998 to publish the type designs of Nick Shinn, and has since released sixteen retail typeface families. Shinntype fonts are available from Faces, Fonts.com, FontHaus, FontShop, Fontworks, MyFonts, Phil’s Fonts and Veer. Commissioned work is also undertaken, most notably a typeface to commemorate the author Mordecai Richler, in 2001. Custom types have been produced for newspapers such as The Birmingham News (Alabama), The Chicago Tribune, The Daily Express (London), The Daily Mail (London), The Globe and Mail (Toronto), The Montreal Gazette, and The St. Petersburg Times (Florida). Fonts with exclusive rights have been created for corporations such as Thomson Nelson, Enbridge, Rogers Communications Inc., and Martha Stewart Living.
Designer
Nick Shinn, R.G.D. was born in London, England in 1952, educated at Bedford, and acquired a Dip.AD in Fine Art (1974) from Leeds Polytechnic, Yorkshire. He has lived in Toronto since 1976. During the 1980s he was an art director and creative director at a number of advertising agencies, and a partner in the environmental marketing company Earthmark from 1988 to 1990. He went digital in 1989 and started the Shinn Design studio, which specialized in publication and marketing design during the 1990s. He has been a member of the Association of Registered Graphic Designers of Ontario (R.G.D.) since its inception in 1996.
Scope
Between 1980 and 1998 Shinn designed seven type families for a variety of foundries. In 1998 he went into the font business full time, launching Shinntype to publish and market his fonts worldwide. Shinn's background as an artist, writer, art director and graphic designer informs his eclectic type designs, which run the gamut from revivals to experimental work exploring new technology, and are used in everything from packaging and advertising to internet, book, magazine, and newspaper publishing around the world. He has created dozens of retail fonts, including the casual classic Fontesque, the unicase-monowidth poetry face Panoptica, and the OpenType script face Handsome Pro. He is currently developing a suite of typefaces for international use, with Latin, Greek, and Cyrillic alphabets.
Other
Shinn has written for magazines such as Applied Arts, Druk, Eye, Graphic Exchange, Marketing, and Typographic, has spoken at the ATypI, TypeCon and Graphika conferences, and taught at Seneca College and York University in Toronto. From 2002 to 2006 he served as a board member of the Society of Typographic Aficionados (SOTA), which puts on the international conference TypeCon every year, helping bring it to Toronto in 2002. [Ler mais...]
01/09/2007
Nick Shinn
From Wikipedia, the free encyclopedia
Nick Shinn was born in London, England, in 1952. He attended school at Leeds Polytechnic where he earned a Dip. AD in Fine Art.
In 1976 he moved to Toronto, Canada, where he worked as an art director and creative director at a number of Toronto advertising agencies from the 1970s into the 1980s. In 1989 he started ShinnDesign, his own digital studio, specializing in publication design. Nick has designed everything from books and magazines to web sites.
Since 1980 he has designed over 20 typeface families, some for respected publishers, including Walburn and Brown for the Canadian daily "The Globe and Mail." Many of Nick's early type designs were published by various foundries, most notably the FontFont library. In 1999 he launched ShinnType, which now publishes and markets his fonts worldwide. Nick is a prolific writer and often contributes to "Graphic Exchange" magazine, as well as many other publications. He has also had speaking engagements at conferences such as ATypI and TypeCon and has served as a board member for The Society of Typographic Aficionados.
Of his typeface designs, Shinn says, “Beautiful letters aren’t enough to make a successful typeface; I also want to create faces that are design solutions.”
External links:
ShinnType
This biographical article about a graphic designer is a stub. You can help Wikipedia by expanding it.
Retrieved from "http://en.wikipedia.org/wiki/Nick_Shinn"
Outras referências:
Nick Shinn Speaks Up
http://www.underconsideration.com/speakup/interviews/shinn.html
Nick Shinn, Fonts.com
http://www.fonts.com/AboutFonts/DesignerProfiles/NickShinn.htm
Nick Shinn, myFonts.com
http://www.myfonts.com/person/shinn/nick/
...
Nick Shinn was born in London, England, in 1952. He attended school at Leeds Polytechnic where he earned a Dip. AD in Fine Art.
In 1976 he moved to Toronto, Canada, where he worked as an art director and creative director at a number of Toronto advertising agencies from the 1970s into the 1980s. In 1989 he started ShinnDesign, his own digital studio, specializing in publication design. Nick has designed everything from books and magazines to web sites.
Since 1980 he has designed over 20 typeface families, some for respected publishers, including Walburn and Brown for the Canadian daily "The Globe and Mail." Many of Nick's early type designs were published by various foundries, most notably the FontFont library. In 1999 he launched ShinnType, which now publishes and markets his fonts worldwide. Nick is a prolific writer and often contributes to "Graphic Exchange" magazine, as well as many other publications. He has also had speaking engagements at conferences such as ATypI and TypeCon and has served as a board member for The Society of Typographic Aficionados.
Of his typeface designs, Shinn says, “Beautiful letters aren’t enough to make a successful typeface; I also want to create faces that are design solutions.”
External links:
ShinnType
This biographical article about a graphic designer is a stub. You can help Wikipedia by expanding it.
Retrieved from "http://en.wikipedia.org/wiki/Nick_Shinn"
Outras referências:
Nick Shinn Speaks Up
http://www.underconsideration.com/speakup/interviews/shinn.html
Nick Shinn, Fonts.com
http://www.fonts.com/AboutFonts/DesignerProfiles/NickShinn.htm
Nick Shinn, myFonts.com
http://www.myfonts.com/person/shinn/nick/
...
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