Paul Shaw Letter Design

Blue Pencil

Blue Pencil is a “slog”: a slow blog. It does not get updated daily or even on a regular schedule. Instead, it gets updated when there is something of value to be posted. Postings often take a long time to prepare and appear at intervals of a few weeks or even months. Sometimes there is a flurry of postings within the span of a few days. Blue Pencil may be unpredictable in its frequency, but not in its purpose. Blue Pencil is fiercely dedicated to the 3Rs: research, reading and writing.

Page 27 of 32
<
1
...
22
23
24
25
26
27
28
29
30
31
...
32
>

20 March 2011

Tutorial no. 2 addendum no. 2 Comments—Sure and Faust

Johnny (Alex Morgan), Demo and ecs,
I don’t usually post comments on Blue Pencil without ﬁltering or editing them ﬁrst, but I think these testaments about Faust and Sure are deserving of being put up as is. Thanks to all of you for clearing up my misidentiﬁcation of the star as an A and for explaining that SURE and FAUST are two different grafﬁti writers. I am sorry to hear that Sure was killed in Afghanistan.
Thank you for reading Blue Pencil …
Continue reading →

17 March 2011

From the Archives no. 15—Helvetica and Standard

Something else that I came across at the High School for Graphic Communication Arts were two issues of a former local trade magazine called Graphics: New York. Both were from 1965 and they help to pin down the moment when Helvetica arrived in New York and began to muscle out Standard (aka Akzidenz Grotesk).
The ﬁrst issue is volume 2, number 1 from January 1965. On its back cover is an advertisement from Amsterdam Continental Types, the ﬁrm that imported European …
Continue reading →

17 March 2011

From the Archives no. 14—Linoskala

The High School of Graphic Communication Arts in New York City, originally founded in 1925 as the New York School of Printing, is changing with the times and one casualty is its extensive library of books, periodicals and ephemera about the printing industries (papermaking, binding, type design and manufacture, typography, editing and proofreading, graphic design, photography, illustration and more). Fortunately, thanks to Abby Goldstein, the material is being saved from the dumpster and will be …
Continue reading →

26 January 2011

Blue Pencil no. 12—Born Modern: The Life and Design of Alvin Lustig

Born Modern: The Life and Design of Alvin Lustig
Steven Heller and Elaine Lustig Cohen
San Francisco: Chronicle Books, 2010

Book design by Tamar Cohen
This is not the usual Blue Pencil post. The book examined here has very few errors, whether typographical or factual. Most of the commentary is about its lack of context. Although most of Lustig’s career took place during the Great Depression and World War II these momentous events are ignored. I was unaware of this lacuna …
Continue reading →

23 January 2011

From the Archives no. 13—Frederic Goudy

Recently I was looking through back issues of The New Yorker online in order ﬁnd “Glorifier of the Alphabet”, a proﬁle of Frederic W. Goudy written by Milton MacKaye and published in the January 14, 1933 issue. I thought it might contain some information on the famous but vexatious quotation about stealing sheep attributed to Goudy. There is much dispute online over the exact wording of the quotation and what, speciﬁcally, Goudy was complaining about: spacing lowercase type, spacing …
Continue reading →

20 January 2011

Blue Pencil no. 11 addendum

R. Roger Remington and Robert S.R. Fripp, the authors of Design and Science: The Life and Work of Will Burtin, expend a lot of effort to prove that Will Burtin was responsible for the popularity of Helvetica in the United States. In Blue Pencil no. 11 I challenged the evidence they presented in support of this claim. Here I want to put forth a counter-claim: that Massimo Vignelli is the individual who deserves credit (or blame)—if anyone does—for the spread …
Continue reading →

18 January 2011

Blue Pencil no. 11—Design and Science: The Life and Work of Will Burtin

Design and Science: The Life and Work of Will Burtin
R. Roger Remington and Robert S.P. Fripp
Aldershot, Hampshire: Lund Humphries, 2007
Designed by Chrissie Charlton & Company
Paragraphs in the book are not indented but set apart by line spaces. This makes reading the text very choppy. ﬁ ligatures are not used, although they are available in Monotype Bulmer, the typeface used to set the text. For a book about a designer who was extremely fussy about typography such lapses are …
Continue reading →

17 January 2011

From the Bookcase no. 1—French Renaissance Printing Types

This is the ﬁrst in a new series of posts. These are not Blue Pencil autopsies of books nor are they conventional book reviews. Instead, these are reports on what I have learned from reading books. These notes will either encourage followers of Blue Pencil to buy and read a book or save them the trouble and expense of doing so.

French Renaissance Printing Types: A Conspectus
Hendrik D.L. VervlietNew Castle, Delaware: The Bibliographical Society, The Printing Historical Society and Oak …
Continue reading →

4 January 2011

Blue Pencil no. 6 comments

I completely agree with Paul’s comments. The book is visually excellent (in spite of reproducing many type specimens in gold (!) ink. But the captions are generally useless, obvious comments without any real knowledge of the specimens. I understand that Jan Tholenaar died before the book was published; that might be the cause of the lack of intelligent, pertinent captions.—Stephen Saxe
This is the only comment received since June 2010. It is about Blue Pencil no. 6 (16 August 2010) which …
Continue reading →

4 January 2011

From the Archives no. 12—The Formation of American Type Founders

The Formation of ATF
The new year is a good time to air out mistakes and acknowledge errors. In several past Blue Pencil posts I have taken others to task for stating that American Type Founders was formed in 1892 from the merger of 23 foundries. I based my argument on several things: the genealogies of foundries in Alastair Johnston, Maurice Annenberg and other sources did not add up; the fact …
Continue reading →

2 January 2011

Patrick Cramsie response to Blue Pencil no. 10

Since Blue Pencil does not post comments without moderation (and I am a very slow overseer of the blog) I was not aware of Patrick Cramsie’s attempt to respond to my dissection of The Story of Graphic Design until he contacted me directly. At the time I promised to post his lengthy response but not until I had a chance to read through them. Unfortunately, the press of teaching and work prevented me from doing anything related to Blue Pencil …
Continue reading →

19 October 2010

What’s Online no. 3 addendum—The Catich Collection

The quotation in the previous post about trying to date the shift from the use of the reed as a brush to its use as a broad-edged tool caught my attention when sifting through the Catich Collection website because James Mosley and I had been wondering when (and why) the Romans changed from making monotone letters to letters with contrasting stroke thickness. We often describe the former as Republican and the latter as Imperial because they generally correlate with those …
Continue reading →

18 October 2010

What’s Online no. 3—The Catich Collection

The recent comment by James Mosley re: Father Catich and W.R. Lethaby led to a discussion between us about what Father Catich’s sources were. That prompted me to see if any of Father Catich’s research materials for his books on the Trajan Inscription survive. I knew that St. Ambrose University, the school in Davenport, Iowa, where he that he taught had a collection of his inscriptions, calligraphy and other artistic works since I had been in touch with the archivist …
Continue reading →

14 October 2010

Tutorial no. 2 addendum no. 2—Castle William and A Sure Faust

Here are two examples of lettering that I came across recently that illustrate good and bad flourishing. The bad example is from Fort William on Governor’s Island, the former Coast Guard facility that is now open to ordinary New Yorkers. The good example (A Sure Faust) is from a storefront near Raffetto’s on West Houston Street in Manhattan.
The Fort William inscription—unfortunately poorly painted—has crude curves and a tailpiece whose spiral …
Continue reading →

4 October 2010

From the Archives no. 11: Woman’s Work?

This is a post that owes a big debt of thanks to Caitlin Dover, my former colleague at Print magazine. She is doing research on 19th c. signs in New York City and came across this intriguing reference to women signpainters. It is in The Employments of Women: A Cyclopaedia of Woman’s Work by Virginia Penny (Boston: Walker, Wise & Co., 1863), pp. 471–472. The entry, one of a long list of potential professions for women that deﬁantly avoids …
Continue reading →

24 September 2010

Father Catich and the Serif: An Emendation

Paul,
This is from your note on Cramsie’s book:
p. 43 “Some historians have linked the invention of the Roman serif to the carver’s chisel…. Another more recent theory has linked it to the invention of a square-cut writing implement; not a reed or quill, but a flat brush….”
[Father E.M. Catich should be identified as the author of the second theory which is now the preferred one.]
In saying this, like many others you do some injustice to W. R. Lethaby, who in …
Continue reading →

Page 27 of 32
<
1
...
22
23
24
25
26
27
28
29
30
31
...
32
>