Reginald Marsh, Smoko, the human volcano, 1933

Andulka
Noah Kahan
The Bowery Presents

oozey mess

if i look back, i am lost
Mike Driver

bliss lane
ojovivo

roma★
Aqua Utopia|海の底で記憶を紡ぐ
Claire Keane
Doug Jones
Sweet Seals For You, Always
NASA

@theartofmadeline
Today's Document
Misplaced Lens Cap
KIROKAZE
noise dept.

gracie abrams
seen from United States
seen from Mexico
seen from Indonesia

seen from Malaysia

seen from Indonesia
seen from Uzbekistan
seen from United States
seen from United States
seen from China

seen from Malaysia

seen from United States
seen from United States

seen from Venezuela

seen from United States

seen from Singapore
seen from Mexico
seen from Nepal
seen from Argentina

seen from Italy
seen from Laos
@arrikiwinslow
Reginald Marsh, Smoko, the human volcano, 1933
The Photojournalist Dennis Stock, Winner of the LIFE Young Photographers Contest, 1951
Andreas Feininger
Typography Tuesday
Here are some more specimens of wood type from an untitled and undated specimen catalog of the Luzern, Switzerland, wood-type manufacture Roman Scherer (1848-1922), produced ca. 1905. Founded in Luzern in 1877, Scherer’s company was the first and probably the only Swiss wood-type manufacturer, operating until the late 1970s.
Below are a couple of specimen pages of Scherer chromatic wood type.
View more posts from this specimen book.
View more posts with wood type.
View our other Typography Tuesday posts.
claremont, calif. march 2026
© tag christof
Gorton Condensed (before 1953)
A story of a 150-year-old font you have never heard of – and one you probably saw earlier today.
“A Communications Primer” (1953) - Charles Eames
This specimen shows Onyx, designed by Gerry Powell in 1942 for ATF.
Total – David Scarna
Screen Printing - Process
Screen printing is a process where ink is pushed through a screen that has been photographically exposed to a UV light, which dictates where ink can/cannot be pushed through, creating the desired design.
CREATING OUR SCREEN PRINT DESIGNS
Firstly, we began by cutting out black paper shapes and sticking them onto tracing paper, ready to be exposed photographically and used to create a screen.
This is what a screen looks like for the process of screenprinting.
As screens are made of fabric, the designs will leave a ghost image. If light can still be seen through the screen, then that means it is still a screen that can be used effectively.
The printing beds hold the screen in place, and create a vacuum, in order to ensure that the print is flat and crisp. The squeegee should be held at a 45 degree angle, and the screen should always be recharged with ink before removing the paper, in order to ensure it does not dry out before the next print.
Markers using masking tape are placed on the bed, in order to ensure that the print is straight, and on the right part of the paper each time. This is especially important when screen prints are being layered, and the paper needs to be in the same place each time.
The first layer of screen printing.
After waiting for the first layer to dry, the second screen can be placed on the paper, which creates an interesting combination of colour and textures.
Finally, the third layer can be added - it is especially effective like this when the ink has been recharged, as it gives a full, crisp finish.
Experimenting with different colours and shapes.
The yellow and pink make a particularly dynamic combination - the creation of the orange through the overlap creates a warm tone.
Typography Tuesday
Today we present some type specimens from a recent acquisition, Berthold-Schriften No. 399A, published in Stuttgart by the Berthold Type Foundry in the early 1950s. Berthold, founded in Berlin in 1858 by Hermann Berthold as a brass rule manufacture and casting metal type after 1893, was one of the largest and most successful type foundries of the 20th century. Monotype acquired all of Berthold's inventory in 2022. The typefaces shown here are:
Fanfare schmal (condensed), designed by Louis Oppenheim (1879–1936) and released by Berthold in 1927.
Bücher-Grotesk halbfett, among Berthold's Akzidenz-Grotesk family of typefaces, released in 1898, a few years after Berthold began casting metal type.
Vertikal by an unknown designer.
Block Signal, designed by Walter Wege (1894-1972) and released by Berthold in 1932.
Berthold Block, designed by Hermann Hoffmann (1856-1926) and released by Berthold in 1908.
Post-Antiqua, designed by Herbert Post (1903-1978) and cut by Paul Koch the son of Rudolf Koch, cast by Berthold in 1932.
Bergwerks-Zeichen (mining sign), hammer and chisel symbols in various sizes.
View our other Typography Tuesday posts.
Typography Tuesday
Rebuild Something New, Revolutionary. Industrious Grand Intentions Wanted, Handy and Neat Combined. Stand Indian Maid, Ancient National Rambler: The Beauty American.
A little patriotic poem of Indigenous sovereignty and the American future from Brass Type, an early 20th-century type specimen book from the H. C. Hansen Type Foundry, Boston, Massachusetts. Hansen operated from 1872 to the early 1920s, and was the only independent type foundry remaining in Boston after the consolidation by the American Type Founders in 1892.
View other type specimen books.
View more Typography Tuesday posts.
Typography Tuesday
Troubles in the Land of Punctuation
In the Land of Punctuation (Im Reich der Interpunktionen) was first published by the popular German satirical poet Christian Morgenstern in 1905. Morgenstern called the poem a linguistic caprice; a rhyming piece of black humor populated by punctuation marks as characters with fascistic agendas, where certain groups with similar features (first semi colons, then the colons) are accused of being parasites, hunted down and exterminated, and ultimately lamented. The story seems prescient for Germany 30 years later, and a relevant cautionary tale for our own times.
Our edition of the poem was published in Chennai, India by Tara Books in 2009, with an English translation by Indian-Canadian writer Shirish Rao and brilliant typographic illustrations by Chennai-born graphic and type designer Dr. Rathna Ramanathan, Head of Central Saint Martins and Pro-Vice Chancellor of the University of the Arts, London. Our copy is a gift from our friend Nirmal Raja.
View a post on another book from Tara Books.
View more Typography Tuesday posts.
Typography Tuesday
Before the holidays on December 16, the Milwaukee Public Library held its third Art Book Club session, a informal art book appreciation gathering that meets once a month in the Art, Music, and Recreation Department of the Central Library. The theme for this meeting was "Technology" and there were all manner of beautifully-designed technology books to peruse and ogle over. It was an immersive experience, and of course I was particularly pleased to spend time with the type specimen books.
This week I highlight one of those books, Specimen Book Linotype Faces, published in Brooklyn, New York by the Mergenthaler Linotype Company in 1939. The typefaces displayed here are:
Century Bold, designed by Milwaukee-born Morris Fuller Benton in 1900.
Gothic No. 13, by Morris Fuller Benton ca. 1900.
Franklin Gothic, designed by Benton in 1903.
Metro Light, designed by W. A. Dwiggins in the early 1930s.
Garamond No. 3, originally designed for American Type Founders by Morris Fuller Benton in the late 1910s and licensed to Linotype's American branch around 1936.
Memphis, originally designed for the Stempel Type Foundry by Rudolf Wolf in 1929.
View other type specimen books.
View more Typography Tuesday posts.
-- MAX, Head, Special Collections
Typography Tuesday
American Type Founders (ATF), established in 1892 with the merger of 23 type foundries, was the predominant producer of metal type in America for the first 50 years of its existence, and remained influential in the industry almost until its closing in the early 1990s. In its heyday, this conglomeration of foundries produced about 85 percent of all type manufactured in the United States at the time. As a behemoth type manufacturer, it also had most of the nation's top type designers producing original typefaces for the foundry, including Will Bradley, Frederic Goudy, Oz Cooper, T.M. Cleland, and the prolific Morris Fuller Benton, who was also the head of the ATF design department.
This ATF type specimen book, Book of American Types, published in 1934 presents some of the "Standard Types" offered by ATF. As the Preface notes:
During the last decade there has been a period of experimental effort in typography the influence of which at times has carried us a long way from the traditional past. . . . No type specimen book can ever be complete in the strictest sense. As printing proceeds, new designs enter the early stages of preparation. Alphabets from leading artists and from our own pre-eminent staff of designers are being continually studied in the effort to anticipate style trends. . . . Change is inherent in progress and every effort will be made to have these separate specimens reflect the most recent trends while at all times maintaining the highest typographic standards.
This statement, along with the title and the name of the corporation, place an emphasis on the spirit of progressivism during the interwar period, as well as the exceptionalism of American initiative and design. But as the display of the Broadway Series of type (designed by Benton in the late 1920s) reminds us, "Herds Ignore Granted Delusions." Our copy of Book of American Types is another donation from the estate of our late friend Dennis Bayuzick.
View other books from the collection of Dennis Bayuzick.
View other type specimen books.
View more Typography Tuesday posts.
Typography Tuesday
Fleurons or Printers' Flowers have been a prominent element of typographic tradition at least since the early 16th century, especially those of designer-punchcutter Robert Granjon. They became less used over the 17th century, but were revived in the mid-18th century when Pierre Simon Fournier introduced an entirely new style of printers' flowers. Soon after, their use enhanced as a fashion for classical typography changed the concept of type decoration at the end of the 18th century. The revival of fine typographic design in the late 19th century spurred a proliferation of new fleuron designs in the 20th century that has not abated to this day.
Fleurons may be combined in innumerable ways to create ornate and intricate typographic patterns. Today we show a few of those patterns from Fleurons, Their Place in History & in Print, written, designed, printed, and bound in 1988 by English type and printing enthusiast Mark Arman at his Workshop Press in Thaxted, Essex, in an edition of 170 copies signed by the author/printer. This book is another from the recent of from the estate of our late friend Dennis Bayuzick. Of printing fleurons, Arman writes:
. . . they can be grouped in a variety of combinations: elaborate arrangements are possible, and great enjoyment may be had exploring their possibilities. When I realised all this I began a collection of type decorations which, in the past seven years, has grown considerably. Part of the enjoyment has been finding specific designs. . . . All my 19th century decorations have come from old printing houses which have ceased to operate, or have gone over to litho, so they make a very mixed assortment. . . . [These] are illustrated in the following pages and the text gives a brief account of the craftsmen who created the design.
View other posts on decorative type patterns by Mark Arman.
View other books from the collection of Dennis Bayuzick.
View more Typography Tuesday posts.
Typography Tuesday
As some of our longtime followers probably know, we adore wood type. So, this week we present some wood type samples from Type Specimens of Caliban Press On the occasion of its sixth anniversary, from the recent donation of the estate of our late friend, art professor, painter, collector, letterpress printer, and book artist Dennis Bayuzick. The publication was letterpress printed and hand-bound by special collections librarian and fine press printer Mark McMurray in 1991 at his Caliban Press in Montclair, New Jersey, in an edition of 100 copies signed by the printer.
The first few unidentified specimens on pages 42 to 45 were made by the Hamilton Manufacturing Company, right here in Two Rivers, Wisconsin, which for almost a century was the largest producer of wood type in the world. The company stopped producing wood type in the 1980s, but continued to produce other manufactured goods, and finally left Two Rivers in 2013. Its wood type legacy lives on, however, in Two River's magnificent Hamilton Wood Type & Printing Museum, an essential pilgrimage site for any lover of wood type!
View other posts with wood type.
View more posts related to the Hamilton Wood Type & Printing Museum.
View more Typography Tuesday posts.
By Fontyou