Search Results for: Dwiggins

The Definitive Dwiggins no. 58—Seven Famous Novels of H.G. Wells

Throughout his life W.A. Dwiggins was enthralled by the writings of H.G. Wells (1866–1946). He was constantly looking for opportunities to design and illustrate his tales of fantasy and science fiction. In the two part Bulletin No. I of the Transactions  of the Society of Calligraphers (January 1, 1924), Dwiggins, in the guise of his alter ego Hermann Püterschein, presented studies for book page designs of two books by Wells: When the Sleeper Awakes (Part I) and The …
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The Definitive Dwiggins no. 55—Mary Elizabeth Church

In 1909 W.A. Dwiggins designed a bookplate for Mary Elizabeth Church, the proprietor of Miss Church’s School for Girls on Beacon Street in the Back Bay neighborhood of Boston. It is not a significant design visually, but the correspondence surrounding it is of some interest. [1]
The origins of the project are murky. Despite the voluminous correspondence between Dwiggins and Daniel Berkeley Updike that survives, there are no letters from the latter commissioning the bookplate. The commission may have been an …
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The Definitive Dwiggins no. 53—Harper’s Magazine continued

W.A. Dwiggins’ work for Harper’s Magazine did not end with the appearance of tailpiece no. 7 in the August 1926 issue. In the November 1930 issue a new series of decorative elements—headpieces, tailpieces and column frames—began to appear. They are abstract rather than pictorial or floral like the first series. Although there is no documentation about their origin, I have some speculative ideas about how they came to be.
At the time that Dwiggins was redesigning Harper’s Magazine in 1925 a …
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The Definitive Dwiggins No. 51—What Is the West?

Between early 1907 and the end of 1912 W.A. Dwiggins did roughly 75 jobs for either G. Schirmer or its affiliate the Boston Music Co. through The Merrymount Press and its proprietor Daniel Berkeley Updike. [1] The great majority were done in 1909, including the subject of this post: From the West: Symphonic Poem for the Organ (Op. 60) by Edwin H. Lemare (New York: G. Schirmer and Boston: Boston Music Co., 1909).
From the West: Symphonic Poem for the …
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The Definitive Dwiggins No. 50—Harpers Magazine

Cover of the June 1925 issue of Harpers Magazine.
W.A. Dwiggins worked in a wide range of graphic design sub-disciplines. One that is often overlooked is periodical design. Over the course of his career he redesigned mastheads or entire formats for a wide range of magazines, house organs and journals: The Alghieri (1911), Advertising & Selling (1912), Happyland (1913), The New England Printer (1914), The Cornhill Booklet (1914), Granite Marble & Bronze (1917), The Modern Priscilla (1918), The Lever Standard (1920), The …
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The Definitive Dwiggins no. 52—Paulus Franck

Schatzkammer, Allerhand Versalien Lateinisch  vnnd Teutsch allen Cantzleyen Schreibstuben Notarien vnd denen so sich des zierlichen schreibens  befleissigen zudienst  und Wohlgefallen von neüen in Druckh also verferttiget  is the longwinded title of the 1601 writing manual by Paulus Franck of Nuremberg. The book is best known for Franck’s astoundingly intricate set of large fraktur initials (see below). [1]
Ornamental fraktur F by Paulus Franck (1601).
But my interest in Franck’s manual is not in the decorative fraktur capitals, but in …
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The Definitive Dwiggins no. 49—Political Satire in 1896

Richard Sheaff, the inveterate ephemera collector, has a small section on his Sheaff: Ephemera website devoted to Salt River ephemera, most of it from the collection of Ron Schieber. He says that the phrase “Up Salt River” was used in the 19th century to refer to political defeat. Going up Salt River meant the wrong way on a tributary to an isolated and irrelevant headwaters. The expression apparently originated in the 1832 election in which Henry Clay was …
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The Definitive Dwiggins no. 48—Eugene Field

Eugene Field. From Field Flowers: A Small Bunch of the Most Fragrant of Blossoms Gathered from the Broad Acres of Eugene Field’s Farm of Love (Chicago: The Monument Committee, 1896).
Eugene Field (1850–1895) was one of the leading literary figures of the late 19th century in America. He was known for his bibliophilic writings as well as for his verse for children. From 1881 until his death he was a columnist for the Chicago Daily News which morphed into the …
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The Definitive Dwiggins no. 47—Cambridge, Ohio

Although W.A. Dwiggins was neither born there nor spent the most years of his childhood there, the town most closely associated with his early life is Cambridge, Ohio. [1] Cambridge is located due south of Cleveland and due east of Columbus in rolling hill country. It is the seat of Guernsey County. In the 1890s, when Dwiggins lived there, two railroad lines (the Baltimore & Ohio and the Cleveland & Marietta) ran through town, testifying to its importance. …
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The Definitive Dwiggins no. 44—A Short Note on Notes

“Proper Prefaces” from Ordinary and Canon of the Mass… (New York: H.W. Gray Co., 1913). Printed by The Merrymount Press. Musical notation by W.A. Dwiggins.
Ordinary and Canon of the Mass: Together with the Order for the Administration of the Lord’s Supper or Holy Communion and the Holy Chant by Rev. Maurice W. Britton and Charles Winfred Douglas (New York: H.W. Gray Co., 1913), despite being a slim book of 76 pages, took three years to complete. The book was …
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The Definitive Dwiggins no. 46—Addendum on Maynard Co.

My friend Alex Jay (of the excellent website The Tenth Letter) sent me some microfilm images of Maynard advertisements by W.A. Dwiggins in the The Boston Herald that he got from a newspaper archive called Genealogy Bank. They do seem less scratchy and shadowy. But what is most important is that they are whole pages that provide a good indication of the environment in which the Dwiggins’ Maynard advertisements operated.
Below is the same “Pearl Necklaces” advertisement on back-to-back days in …
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The Definitive Dwiggins no. 45—More on Metro

Three years ago, for the Typographica annual review of the year’s typefaces, I chose to write about the Metro Nova typeface family designed by Toshi Omagari for Monotype. But instead of the usual 300 word review I wrote an extended essay on origins of Metro, explaining how Metro no. 2—which most people think of as Metro—came about and indicating how little of Metro was actually designed by W.A. Dwiggins. Stephen Coles, creator of Typographica, liked the deep background but since …
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The Definitive Dwiggins no. 43—Maynard and Microfilm

One problem in researching the career of W.A. Dwiggins is identifying and locating the advertising work he did from 1905 to the end of the 1920s when he shifted his focus to book design and type design. The space advertising work—as opposed to the direct advertising work—is especially difficult. [1] Much, if not all, of it was done for inclusion in the numerous Boston newspapers, either via advertising agencies such as the Cowen Company or directly for clients. [2] Copies of …
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The Definitive Dwiggins no. 42—The Annual of Bookmaking

The Annual of Bookmaking (New York: The Colophon, 1938). Binding design by W.a. Dwiggins.
W.A. Dwiggins was at the zenith of his career in 1938. The American Institute of Graphic Arts (AIGA) had held an exhibition of his work in November 1937, the first time that a living designer had been so honored. Over the course of the previous ten years Dwiggins had completed two typefaces (Metro and Electra) for Mergenthaler Linotype and was in the process of finishing up …
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The Definitive Dwiggins no. 15 Addendum—W.A. Dwiggins, Harry L. Gage and Lucian Bernhard on Modernism

As Dwiggins was writing Layout in Advertising the debate over modernist design in the United States was heating up. It was sparked not by the Bauhaus in Germany or the emergence of die neue typographie there and in Eastern Europe, but by the Exposition International des Arts Decoratifs et Industriels held in Paris from April 28 to November 30, 1925. The exposition has given us the phrase Art Deco. [1] But at the time the graphic art associated with …
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The Definitive Dwiggins no. 15—The Origins of Metro

With the release of Metro Nova by Toshi Omagari in 2013, there has been renewed interest in Metro by W.A. Dwiggins. And with that renewed interest has come misinformation.
Fonts.com has a brief history of Metro’s origins that manages to garble the facts, most of which are well-known. Here is their text:
One day in the late 1920s, C. H. Griffiths, who was responsible for typographic development at Mergenthaler Linotype at the time, read a magazine article bemoaning the lack …
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