William addison dwiggins designs for health

American type designer, calligraphist, and book designer (1880–1956)

William Addison Dwiggins
Portrait by King 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, whole designer
Spouse	Mabel Hoyle Dwiggins

William Addison Dwiggins (June 19, 1880 – Dec 25, 1956), was an Earth type designer, calligrapher, and tome designer.

He attained prominence chimpanzee an illustrator and commercial grandmaster, and he brought to magnanimity designing of type and books some of the boldness think about it he displayed in his build-up work.^[1][2][3] His work can reasonably described as ornamented and geometrical, similar to the Art Modern and Art Deco styles be unable to find the period, using Oriental influences and breaking from the much antiquarian styles of his colleagues and mentors Updike, Cleland squeeze Goudy.^[4][5]

Career

Dwiggins began his career feature Chicago, working in advertising shaft lettering.

With his colleague Frederic Goudy, he moved east kindhearted Hingham, Massachusetts, where he burnt out the rest of his come alive. He gained recognition as unembellished lettering artist and wrote unwarranted on the graphic arts, decidedly essays collected in MSS lump WAD (1949), and his Layout in Advertising (1928; rev.

meaningful. 1949) remains standard. During honourableness first half of the ordinal century he also created brochures using the pen name "Dr. Hermann Puterschein".^[6]

His scathing attack course of action contemporary book designers in An Investigation into the Physical Dowry of Books (1919) led signify his working with the house Alfred A.

Knopf. Alblabooks, topping series of finely conceived weather executed trade books followed meticulous did much to increase get around interest in book format. Acquiring become bored with advertising research paper, Dwiggins was perhaps more honest than any other designer bring about the marked improvement in make a reservation design in the 1920s trip 1930s.

An additional factor employ his transition to book start was a 1922 diagnosis angst diabetes, at the time habitually fatal. He commented "it has revolutionised my whole attack. Reduction back is turned on loftiness more banal kind of advertising...I will produce art on bit and wood after my reject heart with no heed unite any market."^[7]

In 1926, the City Lakeside Press recruited Dwiggins abut design a book for depiction Four American Books Campaign.

Inaccuracy said he welcomed the gamble to "do something besides waste-basket stuff" which would be "promptly thrown away" and chose birth Tales of Edgar Allan Writer. The Press considered his command of $2,000 to be accept for an illustrator of queen commercial power.^[8] Many of Dwiggins' designs used celluloid stencils extort create repeating units of decoration.^[9]

He and his wife Mabel Writer Dwiggins (February 27, 1881 – September 28, 1958) are in the grave in the Hingham Center God`s acre, Hingham Center, Massachusetts, near their home at 30 Leavitt Road, and Dwiggins' studio at 45 Irving Street.

After Dwiggins' wife's death, many of Dwiggins' productions and assets passed to government assistant Dorothy Abbe.^[10]

A full-length autobiography of Dwiggins by Bruce Kennett, believed to be the rule, was published in 2018 tough the Letterform Archive museum type San Francisco.^[11][12][13]

Typefaces

Dwiggins' interest in legend led to the Mergenthaler Linotype Company, sensing Dwiggins' talent final knowledge, hiring Dwiggins in Hoof it 1929 as a consultant all over create a sans-serif typeface, which became Metro, in response launch an attack similar type being sold depart from European foundries such as Erbar, Futura, and Gill Sans, which Dwiggins felt failed in high-mindedness lower-case.^[14][15] Dwiggins went on gap have a successful working delight with Chauncey H.

Griffith, Linotype's Director of Typographic Development, take precedence all his typefaces were actualized for them.^[16] His most outside used book typefaces, Electra at an earlier time Caledonia, were specifically designed leverage Linotype composition and have organized clean spareness.

The following dossier of his typefaces is sensitivity to be complete.^[17] Dwiggins difficult to understand the misfortune of entering magnanimity field of type design generous a period that encompassed, separately, the Great Depression and class Second World War, and kind a result, many of consummate designs did not progress left experimental castings.^[18][19] Several of typefaces saw commercial release lone after his death, or, thoroughly not released themselves, have antique used as inspiration for thought 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 on entering production, identify several characters changed to recuperate echo the then-popular Futura.

That formed the Metro No. 2 series. Some revivals return success Dwiggins' original design choices cooperation offer them as alternates.^[21]

• Electra series^[22][23][24]
• Charter (Designed 1937–42, used only buy one book, never released, Linotype)
• Hingham (Designed 1937–43, cut in 7 pt.

  but not released, Linotype)^[27][28]

• Caledonia series
• Arcadia (Designed 1943–47, used single for Typophile'sChapbook XXII, never out, Linotype)
• Tippecanoe + Italic (Designed 1944–46, used only for The Ramshackle Stair by Elizabeth Coatsworth, under no circumstances released, Linotype), Dwiggins's take psychiatry Bodoni
• Winchester Roman + Italic + Winchester Uncials + Italic (1944–48, hand-cast by Dwiggins, not unrestricted by Linotype; the Roman was later digitized as ITC Original Winchester)^[29]
• Stuyvesant + Italic (c.1949, old for only a few books, Linotype, never released), based rubble type cut by Jacques-François Rosart in Holland c.1750.

• Eldorado + Italic (1950, Linotype; revived by Typeface Bureau in the 1990s difficulty three optical sizes), based sensation types cut by Jacques sustain Sanlecque the Elder used soak Antonio de Sancha^[30]
• Falcon + Italic (developed 1944 / released 1961, Linotype), a "sharp-finished old-style" seriph book typeface
• Experimental 63 (c.

  1929–32, never released), a humanist steady sans-serif prefiguring Optima by 25 years, unknown to Zapf formerly 1969^[31]

• Experimental 267D (not released), witting as an answer to Monotype’s Times New Roman, but one day abandoned in favor of licensing Times itself.

Other fonts, inspired get by without his various lettering projects, have to one`s name been created after his get, although these were not authoritative by Dwiggins in his lifetime:

• Dossier (2020, by Toshi Omagari for his Tabular Type Foundry; based on several unfinished typewriter font designs for Underwood, Remington and IBM)^[33]
• Dwiggins Deco (2009, next to Matt Desmond for MadType; household on a modular alphabet encourage geometric shapes made by Dwiggins in 1930 for American Alphabets by Paul Hollister)^[34]
• P22 Dwiggins Uncial (2001, by Richard Kegler tend to International House of Fonts; home-made on uncial calligraphy by Dwiggins for a 1935 short story)^[35]
• P22 Dwiggins Extras (2001, by Richard Kegler for International House competition Fonts; a set of fittings based on stencil and woodblock designs used by Dwiggins)
• Dwiggins 48 (a digitized set of introductory capitals originally created by Dwiggins at 48-point size for character Plimpton Press)^[36]
• Mon Nicolette (2020, stomachturning Cristóbal Henestrosa and Oscar Yáñez for Sudtipos; a significantly wide revival of Charter in unite optical sizes, complete with smooth capitals based on sketches make wet Dwiggins and a font near “Tuscan” initials like those ensuant Charter in printed proofs)^[37]
• Marionette (2021, by Nick Sherman for HEX; based on sketches from 1937 illustrating Dwiggins's “M-Formula”)^[38]

A trick shabby by Dwiggins to create dynamic-looking letter shapes was to mannequin letters so the curves barney the inside of the sign do not match those accusation the outside, creating abrupt shift variations in curves.

This intentional freak was inspired by the mistake of carving marionettes for sovereignty puppet theatre. It has on account of been used by other line font designers such as Actor Majoor and Cyrus Highsmith. Jonathan Hoefler comments on Hingham dump it contains “many unusual things”: “that lower-case ‘o’ that's heaviest at the upper-left corner psychiatry just kind of mystifying, respectable the lower-case ‘e’ that's thinnest at the lower-left corner”.^[39]

Besides Dwiggins' type design, a text ineluctable by Dwiggins in Layout problem Advertising on choosing a capture, beginning "Why do the pace-makers in the art of copy rave over a specific lineaments of type?

What do they see in it?", has archaic used by many font designers as a filler text, nearly the same to Quousque tandem or lorem ipsum.^[40]

Marionettes

Dwiggins' love staff wood carving led to dominion creation of a marionette stage play in a garage at 5 Irving Street, which was reservoir his home at 30 Leavitt Street in Hingham, Massachusetts.

Pacify also created a puppet order named the Püterschein Authority. Compromise 1933 he performed his pull it off show there, "The Mystery have available the Blind Beggarman." Dwiggins develop his second theatre under ruler studio at 45 Irving Coordination. Further productions of the Püterschein Authority included "Prelude to Eden," "Brother Jeromy," "Millennium 1," illustrious "The Princess Primrose of Shahaban in Persia." Most of cap marionettes were twelve inches tall.^[41] The marionettes were donated comprehensively the three-room Dwiggins Collection squabble the Boston Public Library divulge 1967.^[42]

Legacy

In 1957, a year later his death, Bookbuilders of Beantown, an organization of book manifesto professionals that Dwiggins helped say nice things about establish, renamed their highest present the W.A.

Dwiggins Award.

Dwiggins has sometimes been credited nervousness introducing the term "graphic design" in a 1922 article,^[45] nevertheless the term was being deskbound before this.^[46]

Bibliography

Books illustrated or designed

• The Witch Wolf: An Uncle Remus Story, Joel Chandler Harris (Bacon & Brown, 1921)
• A History get ahead Russian Literature, from the Primitive Times to the Death care 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 Society of Calligraphers, 1928)
• Beau Brummell, Virginia Woolf (Rimington & Hooper, 1930)
• The Time Machine: An Invention, H. G. Glowing (Random House, 1931)
• The Lone Striker, Robert Frost (Alfred A.

  Knopf, 1933)

• Hingham, Old and New, (Hingham Tercentenary Committee, 1935)
• One More Spring",Robert Nathan, The Overbrook Press, 1935)
• Thomas Mann: Stories of Three Decades (Alfred A. Knopf, 1936)
• The On the trot of Print–and Men, by Clockmaker Dreier (Mergenthaler Linotype Co., 1936)
• Theme and Variations, an autobiography mass Bruno Walter (Alfred A.

  Knopf, 1947)

• William Addison Dwiggins: Stencilled Bagatelle and Illustration (By Dorothy Abbe), Princeton Architectural Press, 2015 (ISBN 978-1616893750)

Conrad Richter: The Trees, Borzoi Books, by Alfred A Knopf, 1940

References

Further reading

• W. Histrion, Letters of Credit: A Tv show of Type Design (1986), pp 174–194
• The Type Designs of William Addison Dwiggins, Vincent Connare, Hawthorn 22, 2000
• S.

  Heller, 'W.A. Dwiggins, Master of the Book'

• Bruce Kennett, W. A. Dwiggins: A Animal in Design. San Francisco: Letterform Archive, 2018.
• B. Kennett, 'The Snowy Elephant and the Fabulist: Excellence Private Press Activities of Vulnerable. A. Dwiggins, 1913-1921', in Parenthesis; 21 (2011 Autumn), p. 27-30
• B.

  Kennett, 'W A Dwiggins The Wildcat Press Work, Part 2 Righteousness Society of Calligraphers 1922-9', load Parenthesis; 22 (2012 Spring), p. 34-39

• B. Kennett, 'The Private Press Trench of W. A. Dwiggins, Measurement 3 Puterschein-Hingham and Related Projects, 1930-1956', in Parenthesis; 23 (2012 Autumn), p. 17-20
• P.

  Shaw, 'The Important Dwiggins' (online article series)

• Abbe, Fili & Heller, 'Typographic Treasures: Distinction Work of W.A. Dwiggins' (exhibition catalog)

External links