Paul Shaw Letter Design

Research

Research consists of unintended or accidental discoveries that I have made during the course of my research into other topics. They are posted here in the belief that others may find the information equally fascinating. Some items are meant to challenge or question existing scholarship on a specific topic. And others are intended to alert scholars to material that may be relevant to their own pursuits or to new opportunities of research.

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10 November 2017

Paper Is Part of the Picture no. 3—Strathmore Quality and the Origins of the Thistle

This is one in a series of blog posts accompanying Paper Is Part of the Picture: Strathmore Paper and the Evolution of American Graphic Design 1892–2017, an exhibition that I have curated at The Opalka Gallery of The Sage Colleges in Albany, New York. The exhibition runs from October 3 to December 15, 2017.
Alexandra Japan sample book (Mittineague Paper Co., 1910). Designer unknown. Photograph by Vince Giordano.
The Strathmore name and its thistle mark predate the company name. Company accounts …
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10 November 2017

The Definitive Dwiggins no. 61—W.A. Dwiggins and George F. Trenholm

In several Definitive Dwiggins posts I have investigated the sources where W.A. Dwiggins got his illustration, decoration and lettering ideas. But, as much as he copied other people, other people copied him. One of the most persistent Dwiggins imitators was George F. Trenholm (1886–1958), a contemporary colleague and rival. [1] He is barely remembered today, except as a type designer—and even then his typefaces (such as Cornell and Waverly) are not household names. But before he began designing typefaces …
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9 November 2017

The Definitive Dwiggins no. 62—Medway

In several other Definitive Dwiggins posts I have documented the scut work that W.A. Dwiggins did for Daniel Berkeley Updike and The Merrymount Press. Now I have discovered a similar menial job he did for his close friend Carl Purington Rollins (1880–1960), Printer to Yale University. [1] In Dwiggins’ account books there is this entry for November 6, 1921: “Yale Press trim up word ‘Medway’”. [2]
Medway (Japan Paper Company) paper promotion designed and printed by Carl Purington Rollins (1922). …
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1 November 2017

Paper Is Part of the Picture no. 2—A Tale of Two Mills 1892–1911 (Part III)

This is one in a series of blog posts accompanying Paper Is Part of the Picture: Strathmore Paper and the Evolution of American Graphic Design 1892–2017, an exhibition that I have curated at The Opalka Gallery of The Sage Colleges in Albany, New York. The exhibition runs from October 3 to December 15, 2017.
Alexis Cover Papers sample book from Mittineague Paper Co. (c.1899). Designer unknown. The title is set in Bradley Text. Photograph by Vincent Giordano.
Fairfield Parchment sample …
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1 November 2017

Paper Is Part of the Picture no. 2—A Tale of Two Mills 1892–1911 (Part II)

This is one in a series of blog posts accompanying Paper Is Part of the Picture: Strathmore Paper and the Evolution of American Graphic Design 1892–2017, an exhibition that I have curated at The Opalka Gallery of The Sage Colleges in Albany, New York. The exhibition runs from October 3 to December 15, 2017.
The Colonial Book of the Towle Mfg. Co. (Newburyport, Massachusetts: Towle Mfg. Co., 1898). Title page design by Will Bradley.
Bradley’s designs for Mittineague were very different …
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29 October 2017

Paper Is Part of the Picture no. 1—Preface

This is the first blog post in a series intended to accompany Paper Is Part of the Picture: Strathmore Paper and the Evolution of American Graphic Design 1892–2017, an exhibition that I have curated at The Opalka Gallery of The Sage Colleges in Albany, New York. The exhibition runs from October 3 to December 15, 2017.
Paper Is Part of the Picture: Strathmore Paper and the Evolution of American Graphic Design by Paul Shaw. Catalogue title page design by Jennifer …
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28 October 2017

Paper Is Part of the Picture no. 2—A Tale of Two Mills 1892–1911 (Part I)

This is the second blog post to accompany Paper Is Part of the Picture: Strathmore Paper and the Evolution of American Graphic Design 1892–2017, an exhibition that I have curated at The Opalka Gallery of The Sage Colleges in Albany, New York. The exhibition runs from October 3 to December 15, 2017.
Cover of The Inland Printer vol. XIII, no. 5 (August 1894). Design by Will Bradley.
Cover of The Inland Printer vol. XIV, no. 6 (March 1895). Design by Will Bradley.
Will …
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1 July 2017

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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5 March 2017

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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19 February 2017

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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2 February 2017

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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30 January 2017

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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15 January 2017

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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9 January 2017

Typophillics No. 1 update and addendum

The mystery of the origins of Frederic W. Goudy’s comment on letterspacing type has gotten a little bit murkier.
This morning I received an email from Renata Vickrey, university archivist and special collections librarian at the Elihu Burritt Library at Central Connecticut State University, home to the only known copy of Dinner in Honor of Mr. Frederic W. Goudy by the New York Press Association and Syracuse University held in Syracuse 1936. She tells me that the 6 page booklet includes …
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8 January 2017

Typophillics no. 1

Card from Arthur Rushmore to members of The Typophiles 28 May 1938. (Paul Standard Papers, Melbert B. Cary, Jr. Library, Rochester Institute of Technology)
Erik Spiekermann and E.M. Ginger, authors of Stop Stealing Sheep and Find Out How Type Works (Mountain View, California: Adobe Press, 1993), explain the title of their book thusly:
In 1936, Frederic Goudy was in New York City to receive an award for excellence in type design. Upon accepting a certificate, he took one look at it and …
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1 January 2017

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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