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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17 November 2017

The Definitive Dwiggins no. 66—Modern Color

Modern Color by Carl Gordon Cutler and Stephen C. Pepper (Cambridge: Harvard University Press, 1923) is a book that lies at a crucial juncture in the life and career of W.A. Dwiggins. [1] It was published in 1923, the year that Dwiggins made the decision to shift his work from advertising design to book design. [2] It was a time when he was in the midst of his experiments with using wooden stamps to create decorations and other designs; …
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13 November 2017

Paper Is Part of the Picture no. 6—The Thistle 1912–1919

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.
Blandford Deckle-Edge Book-Paper sample book (Strathmore Paper Co., 1918). Cover design by T.B. Hapgood. Photograph by Vincent Giordano.
Although over 280 different iterations of the thistle have …
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11 November 2017

The Definitive Dwiggins no. 63—The Merrymount Press, W.K. Bixby, and Toile du Jouy

A Letter from Benjamin Franklin on Balloons (St. Louis: Privately printed, 1922). Cover design by W.A. Dwiggins. Printed by The Merrymount Press.
One of Daniel Berkeley Updike’s most faithful clients from the mid-1910s through the end of the 1920s was William K. Bixby, a wealthy St. Louis industrialist, philanthropist, collector, and traveler. He collected art, rare books, manuscripts, and autographed letters. The latter two items were often printed in facsimile form by The Merrymount Press as gifts for Bixby …
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10 November 2017

Paper Is Part of the Picture no. 5—Consolidation 1912

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.
Woronoco Bristols sample book (Strathmore Paper Co., 1912). Cover design by Will Bradley. Photograph by Vincent Giordano.
In June 1911 Horace A. Moses announced that he was …
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10 November 2017

Paper Is Part of the Picture no. 4—Woronoco Quality

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.
Fairfield Covers sample book (Woronoco Paper Co., c.1909). Photograph by Vincent Giordano.
In 1907 the Woronoco Paper Co. began touting the quality of its papers in the …
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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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