Typebook creator4/27/2023 ![]() He joined the University of Colorado Boulder College of Media, Communication and Information as faculty with the Department of Advertising, Public Relations and Media Design in Autumn 2019. Dwiggins, having spent 30 years researching his life and work.Joseph Labrecque is a creative developer, designer and educator with nearly two decades of experience creating expressive web, desktop and mobile solutions. Finally, Paul is the reigning authority on W.A. In 2002 Paul was a fellow at the American Academy in Rome. His book Helvetica and the New York City Subway sold out in two months, with a trade edition planned to be published by MIT Press. He writes on letter-related subjects for Print, Eye, Baseline, Letter Arts Review, and AIGA's Voice. Currently he is at both Parsons School of Design and the School of Visual Arts. Since 1980 he has taught calligraphy, lettering, typography and graphic design history at a variety of New York area design schools. Paul was formerly a partner in LetterPerfect, a digital type foundry based in Seattle. Among his clients have been Clairol, Origins, Lord & Taylor, Campbell’s Soup, Cinzano, Vignelli Associates, and Pentagram. He is the sole proprietor of Paul Shaw / Letter Design, a studio specializing for thirty years in calligraphy, lettering and typography. Paul Shaw is a letter designer and graphic design historian. The survey will include assessments of the quality and utility of the various digitizing efforts and display approaches. This talk will outline the different kinds of type specimens that have emerged over five centuries, summarize their features and contents, and then survey the type specimens that have been digitized and uploaded to the Internet. Thus, type designers, type historians, and other researchers can now easily examine specimens in far away locations compare multiple copies and trace type designs from foundry to foundry and country to country. The great majority of these are freely accessible and many are also downloadable. Despite the spate of type specimen facsimiles published in the 1960s and 1970s, the study of type specimens was difficult.Īll of this has changed dramatically in the digital era as not only have specimens been digitized, but a rapidly increasing number have been posted online. Multiple copies of specimens often differ in collation and many are incomplete or mutilated. Many specimens exist in only a few copies, even many that were printed in editions consisting of tens of thousands of copies. Prior to the 21st century they were not widely accessible as with a few exceptions, they were widely scattered among various public, private and university libraries, printing museums, and individual collections. Type specimens are an important resource for both the study of the history of type and the study of type design. The video archive of this event is made possible with the generous support of TypeCulture. This talk took place on Februas part of Lubalin Lecture Series. Mad, Bad (and Good to Know) with Paul Shaw What makes type specimens so appealing? What do they tell us about the history of type marketing and production? How did they reshape graphic design and inform the use of specific typefaces? What are the challenges of digitizing specimens and sharing them with the world? How are contemporary designers using and learning from them? This talk will touch on these topics, present some of the most striking and rare examples from the Archive collection, and announce a new publication focused on specimens of the 1920s–60s, the height of type foundry ephemera publishing. ![]() The Archive’s mission is to aggregate these rarities and make its unique collection available through public tours, research opportunities, online media, and printed publications. In 2015 the Archive acquired the collection of the late Dutch publisher Jan Tholenaar, dramatically increasing its holdings of foundry publications, both bound catalogs and ephemera. ![]() Letterform Archive in San Francisco is building one of the largest and most accessible collections of type specimens in the world. Typeface specimens have become highly sought-after ephemera, not only among type and graphic designers, but all kinds of researchers and collectors of culture. Pre-digital Type Specimens - Stephen Coles - ATypI 2017Īggregation, Examination, and Dissemination
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