13623Re: [PPLetterpress] I am writing a new syllabus, help please
- Nov 17, 2013Fritz,Great story. What do you need help with?I can imagine kids reminiscing 50 years from now as they silently share stories through their glasses."I had to pay for a font once.""I had to stand near a wall because my iPhone crapped out in the middle of monetizing my school news video."By the way. I'll bet glasses will come with neck braces to support your head because neck muscles will be disappearing. No worries.--Scott
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On Nov 17, 2013, at 11:26 AM, "Fritz Klinke" <nagraph@...> wrote:Mark-up as I knew and worked it in the early 1960s was while working as the managing editor of my college newspaper, the Carnegie Tartan. We were hot metal and all letterpress. Our paper was printed by the Western Newspaper Union in downtown Pittsburgh and we were limited to what ever type faces they had on the line casting machines. They had one Ludlow as I recall as well as 7 or 8 linotypes. We were furnished a "Type Specimen" sheet showing all the text and display faces. Setting the text and headlines followed the same basic format every issue, and we all knew how to write up single column heads vs 2 column ones, etc.Most of our ads came in as plates, either electrotypes, plastic shell casts, or as stereotype mats. These were already made up and came from various ad agencies. Local ads were turned over to the composing room foreman who then "marked them up," indicating to the machine operators the point size, type face and length of line to be set. He had to work with what was available as mats for the machines on the floor. There wasn't a huge selection and the faces they had were pretty much run-of-the-mill stuff. We once had an advertiser who insisted on his store name being set in Old English, and WNU didn't have that in any point size. So I set a line of 24 pt type from the shop at school and though I wasn't union, they agreed to put it in the ad. The foreman said "this crap won't work, it's Monotype." And sure enough, the intense pressure of the stereotype mat rolling press crushed that type and it barely printed in the paper.For commercial plants, the composing room foreman was usually the one who marked up work where there were no type specifications. Even in letterpress, work was brought in that was already set in a trade typesetting plant, in the form of plates, or specified such that type had to be purchased. The place I worked in San Francisco was 2 blocks from M&H type, and once in a while, they would set type for our use, in particular where we didn't have a certain face or point size. We had a school catalog once where all the heads had to be set in Craw Clarendon, which we didn't have, so new fonts were purchased from M&H just for that one job. You'd of thought it was the end of the world, in 1967, to have to lay in new type in a well established composing room.A photo of the specimen sheet we used in college, along with me working on the paper, Is on flickr at:Fritz----- Original Message -----From: Silber MaiKätzchenTo: undisclosed recipientsSent: Friday, November 15, 2013 7:53 PMSubject: [PPLetterpress] I am writing a new syllabus, help please [1 Attachment]I am going to teach a summer term this year, in an Introduction To Typographycourse that will be part of a high school graphic design curriculum. I am havingsome trouble with the section on mark-up. I need a better explanation of theprocess. Maybe I need to add some more fonts to the listed mark-ups.
Any help or criticism will be welcome.MaiKätzchenDum loquimur, fugerit invida Aetas:
quam minimum credula postero!
Odes Book I
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