Bram de does biography examples in urdu
He also designed and printed his own books at his private press , Spectatorpers. One of the most perfected is the book Typefoundries in the Netherlands.
Bram de does biography examples in english
It was published in , and is a prime example of fine Dutch printing and publishing. De Does is known for his attention for detail and perfectionism; for the Typefoundries in the Netherlands , he personally supervised the production of the paper produced with his own recipe and he insisted that the book should be printed by one person in a specially equipped room.
The company consulted with De Does, who was against it, fearing the typeface would lose its character in the translation from metal movable type to phototype. He considered commissioning a new typeface, specifically designed for the new technology, a much better idea.
Bram de does biography examples list: Bram de Does (19 July – 28 December ) was a graphic and type designer. [1] Born in Amsterdam, De Does studied at the Amsterdamse Grafische School in the s. De Does came into contact with the printing trade at an early age, as his father had a printing office in the east of Amsterdam.
In De Does won the H. Werkmanprize for the design. This typeface was specifically designed for use at small pointsizes. Photographic adaptations of metal types were also affected by the lack of impression in offset printing and the smoother surface of contemporary papers. In the search for harmony he had produced a design of particular beauty — warm, inviting and romantic.
However by the time it was complete , typesetting had evolved again with the emergence of digital technology.
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Lexicon F, intended for dictionary headwords. Bernard C. Instead De Does proposed a new type, designed specifically for small sizes and coarse resolution printing. A little vertical unrest is good for legibility. Lexicon would be produced in a range of weights and with two ascender and descender lengths; there would also be an extreme bold weight intended for dictionary headwords.
The text weights of Lexicon are a revelation, its horizontal economy and the potential interlinear space created by its short ascenders and descenders all contributing to legibility in cramped conditions, while the version with longer extenders gives back some air and a measured dignity to the word image. And the headword bold, both energetic and balanced despite its extreme stroke widths, thrives in the microtypographic environment of the dictionary.
Is it possible that harmony, on the one hand, and legibility, on the other, are, after all, intimately connected? In other words, besides striving after harmony and practicality I have already made ample efforts to strive after originality. After two decades of work as a typographer, De Does arrived fully formed as a type designer.
Each type is a full and rounded expression of its own ambition.
Bram de does biography examples
Despite their almost opposite starting points, both typefaces have the kind of character that comes from within, the hand of their author. They are recognisably siblings. At the Amsterdamse Grafische School he studied print management rather than design, on a course with practical modules in typesetting and bookbinding. Bram de Does was born into a family of printers.
Even though he played violin since the tender age of eleven, he did not enroll at the Conservatorium van Amsterdam, but chose for a three-year education at the Amsterdamse Grafische School. He succeeded his father at the end of as owner of the printer Systema in Amsterdam-East. Six years later Bram de Does started his tenure as a book designer and typographer at the renowned Haarlem printing office Joh.
De Does also owned the private press Spectatorpers. Both show a profound appreciation and understanding of history and tradition. Yet — unlike many American and British foundries who focused strongly on revivals — he managed to create entirely new and highly personable typefaces, just like so many of his Dutch contemporaries. Bram has almost always printed dry: only a book printed on hard bank-note paper and one other have been on damped paper.
After we had looked through type drawings upstairs in the study, Bram sat me in front of a row of Spectatorpers books, neatly arranged in chronological order. Rather ruefully, he said the extent was not large for so much work, and indeed they are slim volumes, but the quality is more significant than the quantity. They are listed below in his catalogue, and all share his characteristic combination of typographic purity and sensuousness.
They are mostly simply but exquisitely bound in paper-covered boards, with neat square backs. Most of the binding of the regulars has been done by the trade binders Van Waarden, and the specials, which usually have parchment spines and patterned paper boards, by Erik Schots. I will confine myself to describing what I see as the highlights.
The concept of slovenliness is harder to define, since his work is so carefully worked out, but a clue comes in a wonderful moment in the film about his work, which also has as its title Systematisch slordig. The book is in two halves. The second part is printed on the same paper by offset, at the workshop of Jan de Jong, the printer and publisher of De Buitenkant.
The Steadfast Tin Soldier of Joh. This was the so-called Schefferletter, English-bodied No. It was supposed the type dated back to this period. The original punches had disappeared. He showed a page of the reconstituted fount in his book, and the firm used it for some bibliophile editions. He considered it improbable that Scheffer had given the punches, but only lent them.
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In , A F Johnson, writing in the Gutenberg Jahrbuch , had reattributed the type to the Cologne printer Peter Quentell, and found no use of it before It is good to see the Dutch, in the darkest days of the war, still arguing about such matters. It was this book which Bram had to distribute to fill his cases for the new publication.
Section heads and paragraph marks before sub-headings are in rust-red, so that on most spreads there are two colours, and three on many. Two years later came Fleischman on punchcutting , an adapted reprint of an article in the bibliographical journal Quaerendo.
It consisted of a text edited by the typographical scholar Frans A Janssens. It turned out to be datable to , and was a draft of the continuation of a treatise on typefounding and printing planned by the Ploos van Amstel foundry, of which only the first forty pages had been printed. As well as the laudatory references to Fleischman, there is a vigorous defence of the use of counter-punches in punchcutting, and a good deal of derogatory sniping at his Parisian rival Fournier.
From handwriting and stylistic evidence, Janssens is sure that it was actually written by Fleischman.
Both these books used decorated papers made by Bram, either as endpapers or covering the boards in the specials. This handsome large octavo, printed on Zerkall, is bound in thin boards covered with Nepalese hand-made paper blind-embossed with a construction of the ornaments. The text is set on a relatively narrow measure, leaving wide margins for the settings of the ornaments, ranging from small nuclei of units in different combinations, to extraordinary full-page flowerings.