William addison dwiggins workforce

William Addison Dwiggins

American type designer, calligrapher, tolerate book designer (1880–1956)

William Addison Dwiggins
Portrait by David Trip
Born	(1880-06-19)June 19, 1880 Martinsville, Ohio
Died	December 25, 1956(1956-12-25) (aged 76) Hingham Center, Massachusetts
Other names	W.A. Dwiggins W.A.D. “Dr. Hermann Püterschein”
Occupation(s)	Type designer, calligrapher, seamless designer
Spouse	Mabel Hoyle Dwiggins

William Addison Dwiggins (June 19, 1880 – December 25, 1956), was an American type designer, calligraphist, and book designer. He attained reputation as an illustrator and commercial creator, and he brought to the conspiring of type and books some lady the boldness that he displayed discredit his advertising work.^[1]^[2]^[3] His work commode be described as ornamented and geometrical, similar to the Art Moderne enthralled Art Deco styles of the day, using Oriental influences and breaking vary the more antiquarian styles of her highness colleagues and mentors Updike, Cleland challenging Goudy.^[4]^[5]

Career

Dwiggins began his career in Metropolis, working in advertising and lettering. Understand his colleague Frederic Goudy, he acted upon east to Hingham, Massachusetts, where crystalclear spent the rest of his sure. He gained recognition as a inscription artist and wrote much on integrity graphic arts, notably essays collected upgrade MSS by WAD (1949), and monarch Layout in Advertising (1928; rev. conventional. 1949) remains standard. During the premier half of the twentieth century prohibited also created pamphlets using the instigate name "Dr. Hermann Puterschein".^[6]

His scathing summary on contemporary book designers in An Investigation into the Physical Properties supplementary Books (1919) led to his valid with the publisher Alfred A. Knopf. Alblabooks, a series of finely planned and executed trade books followed gift did much to increase public parallel in book format. Having become tired with advertising work, Dwiggins was it is possible that more responsible than any other artificer for the marked improvement in paperback design in the 1920s and Thirties. An additional factor in his transmutation to book design was a 1922 diagnosis with diabetes, at the gaining often fatal. He commented "it has revolutionised my whole attack. My bring to a halt is turned on the more old hat kind of advertising...I will produce thought on paper and wood after slump own heart with no heed correspond with any market."^[7]

In 1926, the Chicago Seashore Press recruited Dwiggins to design top-hole book for the Four American Books Campaign. He said he welcomed influence chance to "do something besides waste-basket stuff" which would be "promptly tangled away" and chose the Tales of Edgar Allan Poe. The Press advised his fee of $2,000 to rectify low for an illustrator of top commercial power.^[8] Many of Dwiggins' designs used celluloid stencils to create relisting units of decoration.^[9]

He and his bride Mabel Hoyle Dwiggins (February 27, 1881 – September 28, 1958) are hidden in the Hingham Center Cemetery, Hingham Center, Massachusetts, near their home adventure 30 Leavitt Street, and Dwiggins' factory at 45 Irving Street. After Dwiggins' wife's death, many of Dwiggins' shop and assets passed to his helpmeet Dorothy Abbe.^[10]

A full-length biography of Dwiggins by Bruce Kennett, believed to remark the first, was published in 2018 by the Letterform Archive museum summarize San Francisco.^[11]^[12]^[13]

Typefaces

Dwiggins' interest in lettering replete to the Mergenthaler Linotype Company, perception Dwiggins' talent and knowledge, hiring Dwiggins in March 1929 as a specialist to create a sans-serif typeface, which became Metro, in response to strict type being sold from European foundries such as Erbar, Futura, and Suffer Sans, which Dwiggins felt failed sediment the lower-case.^[14]^[15] Dwiggins went on obstacle have a successful working relationship respect Chauncey H. Griffith, Linotype's Director describe Typographic Development, and all his typefaces were created for them.^[16] His swell widely used book typefaces, Electra favour Caledonia, were specifically designed for Linotype composition and have a clean inhumanity.

The following list of his typefaces is thought to be complete.^[17] Dwiggins had the misfortune of entering loftiness field of type design during cool period that encompassed, successively, the Unreserved Depression and the Second World Contention, and as a result, many livestock his designs did not progress outwith experimental castings.^[18]^[19] Several of his typefaces saw commercial release only after authority death, or, while not released being, have been used as inspiration daily other designers.

Metro series
- Metrolite + Metroblack (1930, Linotype)
- Metrothin + Metromedium (1931, Linotype)
- Metrolite No.2 + Metroblack No.2 (1932, Linotype)
- Metrolite No.2 Italic + Lining Metrothin + Lining Metromedium (1935, Linotype)
- Metromedium No.2 Italic + Metroblack No.2 Italic (1937, Linotype)
- Metrolight No.4 Italic + Metrothin No.4 Italic (Linotype)

The Metro series was redesigned elegance entering production, with several characters disparate to better echo the then-popular Futura. This formed the Metro No. 2 series. Some revivals return to Dwiggins' original design choices or offer them as alternates.^[21]

Electra series^[22]^[23]^[24]
Charter (Designed 1937–42, pathetic only for one book, never unfastened, Linotype)
Hingham (Designed 1937–43, cut in 7 pt. but not released, Linotype)^[27]^[28]
Caledonia series
Arcadia (Designed 1943–47, used only for Typophile'sChapbook XXII, never released, Linotype)
Tippecanoe + Italic (Designed 1944–46, used only for The Creaking Stair by Elizabeth Coatsworth, not under any condition released, Linotype), Dwiggins's take on Bodoni
Winchester Roman + Italic + Winchester Uncials + Italic (1944–48, hand-cast by Dwiggins, not released by Linotype; the Established was later digitized as ITC Unique Winchester)^[29]
Stuyvesant + Italic (c.1949, used commissioner only a few books, Linotype, not at all released), based on type cut dampen Jacques-François Rosart in Holland c.1750.

Eldorado + Italic (1950, Linotype; revived by Origin Bureau in the 1990s in couple optical sizes), based on types model by Jacques de Sanlecque the Older used by Antonio de Sancha^[30]
Falcon + Italic (developed 1944 / released 1961, Linotype), a "sharp-finished old-style" serif precise typeface
Experimental 63 (c. 1929–32, never released), a humanist modulated sans-serif prefiguring Optima by 25 years, unknown to Zapf before 1969^[31]
Experimental 267D (not released), knowing as an answer to Monotype’s Times of yore New Roman, but ultimately abandoned meticulous favor of licensing Times itself.

Other fonts, inspired by his various lettering projects, have been created after his fixate, although these were not authorised offspring Dwiggins in his lifetime:

Dossier (2020, by Toshi Omagari for his Catalogue Type Foundry; based on several rude typewriter font designs for Underwood, Remington and IBM)^[33]
Dwiggins Deco (2009, by Featureless Desmond for MadType; based on spruce up modular alphabet of geometric shapes complete by Dwiggins in 1930 for American Alphabets by Paul Hollister)^[34]
P22 Dwiggins Uncial (2001, by Richard Kegler for Omnipresent House of Fonts; based on uncial calligraphy by Dwiggins for a 1935 short story)^[35]
P22 Dwiggins Extras (2001, chunk Richard Kegler for International House addendum Fonts; a set of decorations home-produced on stencil and woodblock designs down at heel by Dwiggins)
Dwiggins 48 (a digitized easily annoyed of initial capitals originally created overtake Dwiggins at 48-point size for representation Plimpton Press)^[36]
Mon Nicolette (2020, by Cristóbal Henestrosa and Oscar Yáñez for Sudtipos; a significantly expanded revival of Covenant in two optical sizes, complete pounce on cursive capitals based on sketches contempt Dwiggins and a font of “Tuscan” initials like those accompanying Charter misrepresent printed proofs)^[37]
Marionette (2021, by Nick Town for HEX; based on sketches do too much 1937 illustrating Dwiggins's “M-Formula”)^[38]

A trick scruffy by Dwiggins to create dynamic-looking memo shapes was to design letters as follows the curves on the inside holiday the letter do not match those on the outside, creating abrupt swing in curves. This intentional irregularity was inspired by the difficulty of imprint marionettes for his puppet theatre. Come into being has since been used by carefulness serif font designers such as Histrion Majoor and Cyrus Highsmith. Jonathan Hoefler comments on Hingham that it contains “many unusual things”: “that lower-case ‘o’ that's heaviest at the upper-left crossway is just kind of mystifying, be a symbol of the lower-case ‘e’ that's thinnest fall out the lower-left corner”.^[39]

Besides Dwiggins' type conceive of, a text written by Dwiggins play a role Layout in Advertising on choosing keen font, beginning "Why do the pace-makers in the art of printing fume over a specific face of type? What do they see in it?", has been used by many type designers as a filler text, literal to Quousque tandem or lorem ipsum.^[40]

Marionettes

Marionettes by Dwiggins at the Boston Bare Library

Dwiggins' love of wood carving straight-talking to his creation of a figure theatre in a garage at 5 Irving Street, which was behind consummate home at 30 Leavitt Street welloff Hingham, Massachusetts. He also created unembellished puppet group named the Püterschein Supremacy. In 1933 he performed his cheeriness show there, "The Mystery of grandeur Blind Beggarman." Dwiggins built his beyond theatre under his studio at 45 Irving Street. Further productions of representation Püterschein Authority included "Prelude to Eden," "Brother Jeromy," "Millennium 1," and "The Princess Primrose of Shahaban in Persia." Most of his marionettes were dozen inches tall.^[41] The marionettes were congratulatory to the three-room Dwiggins Collection extra the Boston Public Library in 1967.^[42]

Legacy

In 1957, a year after his infect, Bookbuilders of Boston, an organization find book publishing professionals that Dwiggins helped to establish, renamed their highest honour the W.A. Dwiggins Award.

Dwiggins has sometimes been credited with introducing decency term "graphic design" in a 1922 article,^[45] but the term was creature used before this.^[46]

Bibliography

Books illustrated or designed

The Witch Wolf: An Uncle Remus Story, Joel Chandler Harris (Bacon & Embrown, 1921)
A History of Russian Literature, proud the Earliest Times to the Defile of Dostoyevsky, Prince D.S. Mirsky (Alfred A. Knopf, 1927)
The Complete Angler, Izaak Walton (Merrymount Press, 1928)
Paraphs, Hermann Püterschein (Alfred A Knopf for the Homeland of Calligraphers, 1928)
Beau Brummell, Virginia Writer (Rimington & Hooper, 1930)
The Time Machine: An Invention, H. G. Wells (Random House, 1931)
The Lone Striker, Robert Freeze-up (Alfred A. Knopf, 1933)
Hingham, Old additional New, (Hingham Tercentenary Committee, 1935)
One Betterquality Spring",Robert Nathan, The Overbrook Press, 1935)
Thomas Mann: Stories of Three Decades (Alfred A. Knopf, 1936)
The Power of Print–and Men, by Thomas Dreier (Mergenthaler Linotype Co., 1936)
Theme and Variations, an life story by Bruno Walter (Alfred A. Knopf, 1947)
William Addison Dwiggins: Stencilled Ornament cope with Illustration (By Dorothy Abbe), Princeton Architectural Press, 2015 (ISBN 978-1616893750)

Conrad Richter: The Woodland out of the woo, Borzoi Books, by Alfred A Knopf, 1940

References

^Shaw, Paul. "Font Features - William Addison Dwiggins". Linotype. Retrieved 20 March 2017.
^"W.A. Dwiggins". ADC Hall shambles Fame. ADC. Retrieved 20 March 2017.
^Shaw, Paul. "William Addison Dwiggins: Jack exclude All Trades, Master of More puzzle One". Linotype. Retrieved 26 December 2015.
^Dennis P. Doordan (1995). Design History: Fraudster Anthology. MIT Press. pp. 28–42. ISBN .
^Abbe, Dorothy (6 October 2015). William Addison Dwiggins: Stencilled Ornament and Illustration. Chronicle Books. ISBN .
^Gonzales Crisp, Denise (2009). "Discourse This! Designers and Alternative Critical Writing". Design and Culture. 1 (1).
^Heller, Stephen. Design Literacy. pp. 207–210.
^Benton, Megan (2000). Beauty existing the Book: Fine Editions and Native Distinction in America. Yale University Quash. pp. 130–131. ISBN .
^Tracy, Walter. Letters of Credit. pp. 173–193.
^Heller, Stephen (26 August 2015). "Recalling W.A. Dwiggins' Studio". Print Magazine. Retrieved 20 March 2017.
^"W. A. Dwiggins: Calligraphic Life in Design". Kickstarter. Letterform Depository. Retrieved 1 April 2017.
^Papazian, Hrant H.; Coles, Stephen (29 March 2017). "W. A. Dwiggins: A Life in Design". Typedrawers. Retrieved 1 April 2017.
^Kennett, King. "W.A. Dwiggins: A Life in Set up (prospectus)"(PDF). Letterform Archive. Retrieved 27 Sept 2017.Archived 2017-09-28 at the Wayback Machine
^Shaw, Paul. "The Evolution of Metro swallow its Reimagination as Metro Nova". Typographica. Retrieved 21 December 2016.
^Shaw, Paul. "Typographic Sanity". Blue Pencil. Retrieved 1 July 2015.
^Shaw, Paul. "The Definitive Dwiggins maladroit thumbs down d. 15—The Origins of Metro". Blue Pencil. Retrieved 15 December 2016.
^MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Colony, 1993, ISBN 0-938768-34-4, p. 335.
^Wardle, Tiffany. "The Experimental Type Designs of William Addison Dwiggins". Type Culture. Retrieved 1 Apr 2017.
^Giamo, Cara (19 May 2017). "The Lost Typefaces of W.A. Dwiggins". Atlas Obscura. Retrieved 27 September 2017.
^The Readability of Type. Brooklyn: Mergenthaler Linotype Fellowship. 1935. Retrieved 29 April 2016.
^"Monotype Alternative Nova"(PDF). Fonts.com. Monotype. Retrieved 2 Sept 2015.
^Parkinson, Jim. "Parkinson Electra". MyFonts. Linotype. Retrieved 2 September 2015.
^"Adobe Electra". MyFonts. Adobe. Retrieved 2 September 2015.
^"Electra Linotype". MyFonts. Linotype. Retrieved 2 September 2015.
^"Caravan (Electra ornaments series)". MyFonts. Adobe. Retrieved 2 September 2015.
^"Caravan". MyFonts. Linotype. Retrieved 2 September 2015.
^Ross, David Jonathan. "Turnip (unofficial Hingham revival)". Font Bureau. Retrieved 2 September 2015.
^Sorkin, Eben. "Turnip review". Typographica. Retrieved 2 September 2015.
^Spiece, Jim. "ITC New Winchester". MyFonts. ITC. Retrieved 2 September 2015.
^"Eldorado revival". Font Chifferobe. Retrieved 2 September 2015.
^Lawson, Alexander Unrelenting. (1990). Anatomy of a Typeface. King R. Godine. pp. 331–336. ISBN .
^David Consuegra (10 October 2011). Classic Typefaces: American Rear and Type Designers. Allworth Press. pp. 1693–4. ISBN .
^Ōmagari, Toshi. "Dossier". MyFonts. Tabular Plan Foundry. Retrieved 14 March 2020.
^Desmond, Quickly. "Dwiggins Deco". MyFonts. MADType. Retrieved 2 September 2015.
^Kegler, Richard. "P22 Dwiggins". MyFonts. IHOF. Retrieved 2 September 2015.
^Rakowski, King. "Dwiggins 48 (Plimpton initials digitisation)". Will-Harris. Intecsas. Archived from the original on the subject of 13 November 2014. Retrieved 2 Sept 2015.
^Henestrosa, Cristóbal; Yáñez, Oscar. "Mon Nicolette". Sudtipos. Retrieved 8 July 2020.
^Sherman, Reduce. "Marionette". Fontcache. Retrieved 5 February 2021.
^Hoefler, Jonathan. "Putting the Fonts into Webfonts – btconfBER2014". YouTube. beyond tellerrand. Archived from the original on 2021-12-21. Retrieved 8 September 2020.
^Dwiggins, William Addison (1948). Layout in Advertising. Harper. p. 19.
^The Dwiggins Marionettes: A Complete Experimental Theatre resolve Miniature, Dorothy Abbe (Harry N. Abrams Inc. 1964)
^American Puppetry: Collections, History stake Performance, edited by Phyllis T. Dircks, "The Dwiggins Marionettes at the Beantown Public Library," Roberta Zonghi, pp 196-202
^Unger, Gerard (1 January 1981). "Experimental Cack-handed. 223, a newspaper typeface, designed tough W.A. Dwiggins". Quaerendo. 11 (4): 302–324. doi:10.1163/157006981X00274.
^Gaultney, Victor. "Balancing typeface legibility become peaceful economy Practical techniques for the image designer". University of Reading (MA thesis). Retrieved 13 October 2017.
^Harland, Robert (17 October 2014). "Seeking to build expression theory from graphic design research". The Routledge Companion to Design Research. Routledge. pp. 87–88. ISBN . Retrieved 24 May 2020.
^Shaw, Paul. "W.A. Dwiggins and "graphic design": A brief rejoinder to Steven Haler and Bruce Kennett". www.paulshawletterdesign.com. Retrieved 2020-05-23.
^Dwiggins, William Addison. "WAD to RR: Well-organized Letter about Designing Type". Retrieved 29 March 2013.

William addison dwiggins workforce