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[RARE AVANTGARDE JOURNAL OF THE SEGUNDO MODERNISMO] Sinal: publica??o liter?ria [The sign: a literary publication]

Coimbra: Imprensa Académica, July 1930. Small quarto (25.5 ? 19 cm). Original staple-stitched wrappers with two-color printed linocut; 22 pp. (including insides of wrappers) with an original graphic illustration and numerous linocut title headings. Binding with barely noticeable, export restoration; sporadically somewhat fox-stained; else very good. Rare sole issue of the avant-garde journal, which resulted from Branquinho da Fonseca's departure from the periodical ?Presen?a?, which was of central importance for the Portuguese avant-garde (?Segundo Modernismo?). "Presen?a? was previously founded by Branquinho da Fonseca not only as an experimental and innovative publication in terms of typography and art, but above all as the medium of new Portuguese literature and poetry. Poems by Fernando Pessoa, who was not so well known during his lifetime and is now considered one of the most important poets in the Portuguese language, were published here for the first time. When Pessoa died in 1935, ?Presen?a? printed a special issue in his honor with tributes and excerpts from Pessoa's letters. However, ?Presen?a? not only provided a forum for the avant-gardes of its own tongue, but also promoted experimental exchange across borders: texts by Proust, Gide, Joyce, Val?ry and contemporary Brazilian authors were made accessible to the Portuguese public for the first time in many cases. Furthermore, ?Presen?a? ensured that the earlier Orplieu generation was firmly established in the canon of Portuguese modernism. Today, Branquinho da Fonseca is best known as the author of the novel ?O Bar?o?, which is considered a Portuguese ?masterpiece of its genre? in literary history. (Cf. Gerhard Wild, Kindler Kompakt: Portugiesische Literatur 20 Jahrhundert, Heidelberg 2015, pp. 16?18 and 113?115). As of November 2024, OCLC lists only one copy in Portugal and none in North America.

N° de ref. del artículo 54641

Via IberLibro

#avantgarde #letterpress #typography #woodcut

"Thinking outside the box is an idiom that means to think differently, unconventionally, or from a new perspective. The phrase also often refers to novel or creative thinking". This is not a bad idea but can sometimes be glibly thrown around masking a lack of critique. Below are responses from former colleagues. "Recognise that there is a box. You may or may not wish to acknowledge the box in your approach, but either way you need to understand that the box exists". "Fail to understand even the basic principle of a 'box', and dress it up with 'academic' sounding waffle to try to disguise your stupidity. You'll probably fool some of the people, some of the time". "Boxes are euphemisms. Boxes are a state of mind. I believe in teaching students how to build boxes".

Via Tony Pritchard

#typography #graphic design #tonypritchard #letterpress

Frederick Lambert came to prominence through his typeface designs for Letraset such as Compacta.

Considering the many stories that surround Lambert and his character there is little known of his early life. Former course leader at LCP, Mike Emmons referred to him as an ‘enigma’.

Despite the tales of his larger than life persona he was also someone who was looked out for by his colleagues and employer. Lambert had initially joined the LCP as a compositor, whom the then principal, Ellis Thirkettle, took under his wing.

Fred initiated and became editor of ‘Typos’ circa 1980 which was was highly critical of design practice within the profession and education commenting that the discipline “has often become sterile”. Lambert saw ‘Typos’ as having a clear mission to “question much of the barren teaching and practice of the subject”. ‘Typos’ did not shy away from the rich heritage of typography if it was judged to be “still valid”. Conversely it actively engaged with “the extra-ordinary flowering of dynamic typography during the first quarter of this [20th] century…activated by protest against current cultural values”.

The image here is expressive of Fred's playful attitude towards typography. 'Letterforms' was produced in 1964.

Via Tony Pritchard

#typography #graphic design #tonypritchard

Salon Series 23: Making The Black Panther, A Conversation with Emory Douglas

Source: nonporous, via puretypography

Spécimen des caractères d'affiches Deberny & Peignot

Via Flickr

Via Enric

Via WoodtypeResearch

Twelve Line Pica Antique Amalgamation Shaded, 2 colors and Twelve Line Pica Gothic Condensed Open Shaded, 2 colors from Nesbitt’s Fourth Specimen of Machine Cut Wood Type (1841). From the Rare Book and Manuscript Library, Columbia University.

Via Paul Shaw

#chromatictype #letterpress

Interior page of Nesbitt’s Fourth Specimen of Machine Cut Wood Type (1841). 7¾ × 8¾˝, 10 pages. From the Rare Book and Manuscript Library, Columbia University.

Via WoodtypeResearch

#chromatictype #letterpress