Last edited by Samuzragore
Sunday, May 10, 2020 | History

2 edition of Sixteenth-century French typefounders found in the catalog.

Sixteenth-century French typefounders

Guillaume Le BeМЃ

Sixteenth-century French typefounders

the Le Bé memorandum

by Guillaume Le BeМЃ

  • 307 Want to read
  • 11 Currently reading

Published by Privately printed for A. Jammes in Paris .
Written in English

    Subjects:
  • Type designers -- Biography.,
  • Type and type-founding -- History.,
  • Printing -- France -- History.

  • Edition Notes

    Bibliography, p. (53)-55.

    Statementedited by Harry Carter ; with a foreword by Stanley Morison.
    SeriesDocuments typographiques français -- 3
    ContributionsCarter, Harry.
    Classifications
    LC ClassificationsZ250.A2
    The Physical Object
    Paginationvii, 60 p. :
    Number of Pages60
    ID Numbers
    Open LibraryOL19456038M

    The Renaissance, French for 'rebirth', was undoubtedly the most intensely creative period in history. This explosion of activity is reflected perhaps more than elsewhere in the art and architecture of the period. The legacy the artists, sculptors, tradesmen, architects, garden designers, engravers, and printers left behind can still be seen all over Europe today, not only in the things. Home; Random; Nearby; Log in; Settings; About Wikipedia; Disclaimers.

    Sixteenth-century French typefounders: The Le Bé Memorandum () avec Harry Graham Carter () comme Directeur de publication Mechanick exercices on the whole art of printing () () avec Harry Graham Carter () comme Éditeur scientifique. Book clean and unmarked. Top edge of text block foxed, near fine. () $ 8. (BIBLE). O'SULLIVAN, Orlaith, editor. The Bible as Book. The Reformation. (London): British Library & Oak Knoll, , octavo, boards in dust jacket. x, pp. First Edition. The .

    sixteenth century, non-Muslims resident in the Islamic lands, however, had been printing books in other scripts, such as Hebrew, Syriac, and Armenian, at such cities as Constantinople and Salonika, and later Aleppo and Isfahan. Following the invention of lithography in late .   A view of early typography up to about 1. Reprinted ed.). ISBN 9. Sixteenth- century French Typefounders: The Le B. Private printing for A. The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth- century Typefaces. French Ministry of Culture. Retrieved 3 December 2. French Ministry of Culture. Retrieved 3 December 2.


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Sixteenth-century French typefounders by Guillaume Le BeМЃ Download PDF EPUB FB2

Sixteenth-century French typefounders. Paris, Privately printed for A. Jammes, (OCoLC) Material Type: Biography: Document Type: Book: All Authors / Contributors: Guillaume Le Bé; Harry Graham Carter. HENDRIK D. VERVLIET. The Paleo-Typogrophy of the French Renaissance: Selected Papers on Sixteenth-Century Typefaces.

(Library of the Written Word, 6; The Handpress World, 4.) 2 vols. Leiden and Boston: Brill, viii, Pp. ISBN. Garamond is a group of many old-style serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond (generally spelled as Garamont in his lifetime).

Garamond-style typefaces are popular and often used, particularly for printing body text and books. Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal ry: Serif. Rare Book & Manuscript Library - Rare Book Collection.

F Carter, Harry Graham, ed. Sixteenth-Century French Typefounders: The Le Bé Memorandum Paris: Privately printed for A. Jammes, Rare Book & Manuscript Library - Rare Book Collection. ZA2 L4. De Rossi, Giovanni Bernardo De Hebraicae Typographiae. Sixteenth-Century French Typefounders: The Le Bé Memorandum.

Dealer. Berlin, DE. Price. 44 USD. Buy now. About the item. vii (v), 60 Seiten. (7 Falt-)Tafeln, OKart., 23,5 x 17 cm.

Über die französischen Stempelschneider, Schriftentwerfer, Schriftgießer und Verleger Guillaume Le Bé I () und Guillaume Le Bé II ( Claude Garamont (c.

–), known commonly as Claude Garamond, was a French type designer, publisher and punch-cutter based in Paris. Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal worked in the tradition now called old-style serif design, which produced letters with a relatively organic structure resembling.

The matrices of sixteenth-century punchcutters such as Garamond and Granjon continued to be regularly used and kept in the stock of European typefounders until the end of the eighteenth century and in some areas into the nineteenth, and were shown prominently in the major French specimen books Sixteenth-century French typefounders book the eighteenth century, those of typefounders.

7 H. Carter, Sixteenth-Century French Typefounders: The Le Bé Memorandum (Paris: privately printed for A. Jammes, ), p. ‘Pierre Hautin, graveur fondeur de lettres, a travailé à Paris en et et peut avoir commencé vers et acheva son apprentissage vers ’.Author: Rémi Jimenes. His book ALPHABETS TO ORDER: The Literature of Nineteenth-century Typefounders’ Specimens was published by The British Library in association with Oak Knoll books.

In Oak Knoll published a new edition of William Loy’s NINETEENTH-CENTURY AMERICAN DESIGNERS & ENGRAVERS OF TYPE. Music Typefounders. The trade of making types in the fifteenth century was never clearly described in contemporary treatises but can only be inferred from chance comments in colophons and archival documents of the next century Evidence concerning typecasting in the fifteenth century was meticulously assembled by Konrad Haebler in an attempt to answer criticism of his classification of.

'Early typefounders' moulds at the Plantin-Moretus Museum' (pp. ), and L. and W. Hellinga, 'Regulations relating to the planning and organization of work by the master printer in the Ordinances of Christopher Plantin' (pp.

'Chris topher Plantin', Book Collector,is an unsigned pro. Garamond is a group of many old-style serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond (generally spelled as Garamont in his lifetime). Garamond-style typefaces are popular and often used, particularly for printing body text and books.

Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type. Didone (/ d i ˈ d oʊ n i /) is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth.

It is characterized by: Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.) Vertical orientation of weight axes. French typefounders of the 1. Manutius's work (and, it is thought, De Aetna in particular) as a source of inspiration. De Aetna was printed using a mixture of alternate characters, perhaps as an experiment, and several of these are all found in Robert Estienne's printing of the 1.

Sixteenth-century French Typefounders: The Le Bé memorandum. Private printing for A. Jammes. ^ a b Mosley, James (). "Garamond, Griffo and Others: The Price of Celebrity".

Bibiologia: 17– Retrieved 3 December ^ a b "The Career of a Punch-Cutter". French Ministry of Culture. Retrieved 3 December Sixteenth-century French Typefounders: The Le Bé memorandum. Private printing for A. Jammes. 1 2 Mosley, James (). "Garamond, Griffo and Others: The Price of Celebrity".

Bibiologia: 17– Retrieved 3 December 1 2 "The Career of a Punch-Cutter". French Ministry of Culture. Retrieved 3 December 1 2 Hendrik D.

Vervliet (). From the second half of the sixteenth century onwards they were available world-wide as is shown by the Plantin (Antwerp, ) or Berner (Frankfurt, ) type-specimens and the many French faces occurring in sixteenth- and seventeenth-century English, German, Spanish and.

Claude Garamont (c. – ), known commonly as Claude Garamond, was a French type designer, publisher and punch-cutter based in Paris. [1] [2] Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type. He worked in the tradition now called old-style serif design, which produced letters with a relatively organic structure resembling Author: Rrhb.

One gem from an etiquette book of decreed that "the perfect hostess will see to it that the works of male and female authors be properly segregated on her book shelves.

Their proximity, unless they happen to be married, should not be tolerated." New. () $ 8. BLOUW, Paul Valkema.

Dutch Typography in the Sixteenth Century. Introduction. The most comprehensive survey of the history specifically of the hand mold is Friedrich Bauer's Das Giessinstrument (, and reprinted below).Much of the information here is extracted from it, with the assistance of the partial, as-yet unpublished translation done by Paul Hayden Duensing.

The authoritative reference for the early development of typecasting technology remains. Sixteenth-century French typefounders: The Le Bé Memorandum () The typographic book, () The English writing-masters and their copy .His book is perfect in every respect; a marvel of letters, bibliography, and printing technology.

Inan enlarged section edition of this work appeared: Nash, Ray, ed. Foreword by Stanley Morison. Calligraphy and Printing in the Sixteenth Century. Antwerp, Belgium: The Plantin-Moretus Museum,   Abstract. Though little known to the general public, to type historians Philippe Danfrie (c. –) will be recognized as a competitor to Robert Granjon’s claim for being the inventor of the first Civilité type, a mid-sixteenth-century gothic script type that superseded the French bâtarde was the usual script for vernacular texts north of the Alps (with the exception of Author: Hendrik D L Vervliet.