Podcasts about linotype

Episode: 1372 Mark Twain and the Paige Compositor.  Today, meet the man who bankrupted Mark Twain.

If you've ever marveled at a Linotype machine or debated whether Helvetica is overused, you've likely felt Frank Romano's influence—even if you didn't know it. As the founder of the Museum of Printing and author of nearly 80 books, Romano has spent a lifetime preserving the stories, machines, and ideas that shaped the modern media landscape. From brass matrices to PageMaker, he's witnessed every disruptive shift in how we communicate. And through it all, he's championed one unwavering belief: print is immortal.   Access more at this episode's landing page, at:  https://www.editorandpublisher.com/stories/saving-the-story-of-print-one-linotype-at-a-time-inside-the-museum-of-printing,255266  

The history of the printing industry in the United States was forever changed with the installation of a Linotype typesetting machine in June 1886 in the offices of the New York Tribune newspaper. Linotype produces lines of words as a single strip of metal, rather than hand setting type by individual letter. It streamlined the typesetting process making it faster to produce a page of type.

Elliot sits down for a cup of tea at Erik Spiekermann's house in London to discuss his successes and failures, his latest typeface neue Serie57®, the relationship between paper and screen, and why Frutiger could very well be the typeface Erik takes to a desert island. Warning: lots of swearing!

„THIS IS IT“, Sprachkunst von Arnold Dreyblatt, Federico Federici, Nauka Kirschner; Dr. Friedrich W. Block curator, Kunsttempel, Kassel, 19/10-19/11/2023. What does it mean to “read” (aloud? silently?) a (partially) asemic […]

David Berlow has been at the forefront of type design, publishing, and technology for 45 years. His impressive career began in 1978 drawing letterforms for the Haas, Mergenthaler, Linotype, and Stempel type foundries, before he went on to work at Apple, Bitstream, and later founded the Font Bureau with Roger Black.  A self-described “loose cannon” and “boat rocker,” Berlow has been at the center of type innovation for decades, consulting for companies like Apple and Google, all whilst designing some of the world's most celebrated and recognizable fonts, including custom designs for iconic publishers such as The New York Times Magazine, Newsweek, Esquire Magazine and The Wall Street Journal and brands including Apple Computer Inc., Google Inc. and Microsoft Corporation.  In this week's episode Tom Rickner, the Senior Director of the Studio at Monotype, sits down with Berlow. Fun fact: Berlow hired Rickner at the Font Bureau, kicking off his career as a type designer. You'll hear the two reminisce, talk shop, and explore Berlow's influences, predictions, and perspectives on mentorship and team building.   Read more about this episode and our past guests at monotype.com/podcast.   

Why is it so hard to book Etaoin Shrdlu‽ Well, we got Doug Wilson instead, who joins the podcast this week to tell us all about his upcoming Linotype Book Project, documenting the history of the famous typesetting machine and its outsized impact on printing, journalism, and society. You can subscribe to this fantastic project at https://linotypebook.com. We know you'll want to, we don't even need to use a Jedi mind trick, move along, move along…Font releases highlighted in this episode:Solfa from R-Typography Waverse from Typeji on Future Fonts Keyframe from Plain FormLadna and Ladna Faux from the new Typokompanii Get your 2022 Annual Report and Almanac, our data-driven look at the world of independent typography in 2022!Subscribe to the Weekly Newsletter for all the independent type news that's fit to email!Support the Interrogang, if you are able, to help us expand what Proof&Co. and the Interrogang have to offer!Support the show

话接上回，嘉宾沛然继续为我们讲述扬·奇肖尔德的故事。本期节目，将从奇肖尔德移居瑞士后的经历开始，回顾其壮年直至晚年在平面、书籍及字体设计等各领域的作品及贡献。 参考链接 字谈字畅 198：莱比锡城杨清秋 扬·奇肖尔德（Jan Tschichold，1902—1974），德国著名字体排印师、书籍设计师 Jan Tschichold. Typographische Gestaltung (《文字排印的造型》). Benno Schwabe & Co., 1935 TM RSI SGM（《字体排印月刊》），自 1933 年起在瑞士发行，于 2014 年停刊 马克斯·比尔（Max Bill，1908—1994），瑞士建筑师、设计师、艺术家 Ruari McLean，英国字体排印师 Der Berufsphotograph，奇肖尔德于 1938 年设计的海报 Birkhäuser，瑞士出版社，成立于 1879 年，后被 Springer 收购 Penguin Composition Rules（企鹅排版规则），奇肖尔德为企鹅出版社制定的编辑设计指南 Anthony Froshaug，英国字体排印师、教育者 “This is a Printing Office”，Beatrice Warde 撰写的宣言 施腾佩尔铸字厂（Stempel Type Foundry），德国铸字厂，成立于 1895 年 莱诺铸排机（Linotype machine） 蒙纳铸排机（Monotype system） 字谈字畅 090：巴黎城内加拉蒙 Sabon，奇肖尔德于 1960 年代设计的著名衬线体，Linotype、Monotype、Stempel 联合发行 雅克·萨邦（Jacques Sabon），十六世纪法国字体刻字师，Sabon 字体因其命名 Sabon Next，让–弗朗索瓦·波尔谢（Jean François Porchez）于 2002 年复刻的 Sabon 字体家族，Linotype 出品 《十竹斋笺谱》，1644 年胡正言编印的一部古代笺谱 《芥子园画传》，康熙年间的一部著名画谱 嘉宾 谭沛然：The Type 编辑，交互和平面设计师、设计史研究者 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

In this episode Chris Gondek speaks with author Tom Mullaney on the invention of the Chinese typewriter, and how the characters originally utilized are still the ones available on modern keyboards. Chinese writing is character based, the one major world script that is neither alphabetic nor syllabic. Through the years, the Chinese written language encountered presumed alphabetic universalism in the form of Morse Code, Braille, stenography, Linotype, punch cards, word processing, and other systems developed with the Latin alphabet in mind. This book is about those encounters--in particular thousands of Chinese characters versus the typewriter and its QWERTY keyboard. Thomas Mullaney describes a fascinating series of experiments, prototypes, failures, and successes in the century-long quest for a workable Chinese typewriter. The earliest Chinese typewriters, Mullaney tells us, were figments of popular imagination, sensational accounts of twelve-foot keyboards with 5,000 keys. One of the first Chinese typewriters actually constructed was invented by a Christian missionary, who organized characters by common usage (but promoted the less-common characters for "Jesus" to the common usage level). Later came typewriters manufactured for use in Chinese offices, and typewriting schools that turned out trained "typewriter girls" and "typewriter boys." Still later was the "Double Pigeon" typewriter produced by the Shanghai Calculator and Typewriter Factory, the typewriter of choice under Mao. Clerks and secretaries in this era experimented with alternative ways of organizing characters on their tray beds, inventing an input method that was the first instance of "predictive text." Today, after more than a century of resistance against the alphabetic, not only have Chinese characters prevailed, they form the linguistic substrate of the vibrant world of Chinese information technology. The Chinese Typewriter, not just an "object history" but grappling with broad questions of technological change and global communication, shows how this happened.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

威廉·亚迪逊·德威金斯，高产且多面的设计师和艺术家，于其人生的后半段，为二十世纪上半叶的美国字体设计，注入了独具一格的创造力。今天老朋友沛然做客嘉宾，为大家介绍德威金斯富于活力的生平事迹及字体作品，及其在字体之外的有趣创作。 参考链接 威廉·亚迪逊·德威金斯（William Addison Dwiggins），美国字体设计师、插画师、平面设计师 字谈字畅 173：五行缺水的字体设计师？ Chauncey H. Griffith，美国字体设计师、印刷师，曾任 Linotype 字体排印开发副总裁（Vice President of Typographic Development） Metro，德威金斯设计的一系列无衬线体，Linotype 自 1929 年起陆续出品 Metro Nova，大曲都市基于 Metro No. 1 复刻的字体家族，Monotype 出品 Electra，德威金斯设计的衬线体家族，Linotype 自 1935 年起陆续出品 LfA Aluminia，Jim Parkinson 基于 Electra 复刻设计的字体家族，Letterform Archive 出品 Poets Electra，美国诗人学会（Academy of American Poets）的定制字体；Christian Schwartz 基于 Electra 复刻设计，Commercial Type 出品 Caledonia，德威金斯设计的衬线体家族，Linotype 于 1938 年出品 Tim Ahrens & Shoko Mugikura. Size-specific adjustments to type designs: An investigation of the principles guiding the design of optical sizes. Just Another Foundry, 2014 提线木偶（marionette），德威金斯的个人爱好之一 嘉宾 谭沛然：The Type 编辑，交互和平面设计师、设计史研究者 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 欢迎加入 The Type 会员计划，每月可通过会刊获得本节目更多图文扩展阅读，并享受礼品赠送、活动优惠以及购物折扣等权益。

The history of newspapers and typography is this movie’s subject. Director Sam Fuller made this love letter to journalism, and in this episode, we echo that love right back, with the aid of an actual typography historian. Get the movie on YouTube and watch along with us. We’ll count you in! Host Shelly Brisbin with Annette Wierstra.

The history of newspapers and typography is this movie’s subject. Director Sam Fuller made this love letter to journalism, and in this episode, we echo that love right back, with the aid of an actual typography historian. Get the movie on YouTube and watch along with us. We’ll count you in! Shelly Brisbin with Annette Wierstra.

鲁道夫·科赫，一位技艺精湛的综合性艺术家——他不算长久的职业生涯为后世留下了诸多风格独到的经典字体作品。今天，The Type 编辑谭沛然再次做客嘉宾席，为我们深入介绍科赫的生平、作品，及其在乱世中颇具复杂性和矛盾性的立场。 参考链接 「书说设计」系列线上分享会第一季第四场：用修文物的心态监修经典——谈《平面设计中的网格系统》（经典版）的修订；Eric 主讲，6 月 8 日 19:00—21:00 在线上直播 鲁道夫·科赫（Rudolf Koch，1876—1934），德国字体设计师、书法家、版画家 新艺术运动（Art Nouveau）及其在德国的称呼「青年风格」（ Jugendstil） Klingspor Type Foundry，十九世纪末至二十世纪初的德国铸字厂 Deutsche-Schrift，科赫设计的哥特体（blackletter）字体家族，Klingspor Type Foundry 出品 Textura、Schwabacher，哥特体的两种风格 谭沛然所撰《Emil Rudolf Weiß：书法和装帧艺术的设计职业化》，2018 年刊于 The Type Rudolf Koch. Die Heilung des Besessenen. 1910s Rudolf Koch. Die Schriftgiesserei im Schattenbild. 1918.（1936 年由 Klingspor 出版） Koch-Antiqua，科赫设计的衬线体，Klingspor Type Foundry 出品 Rudolf Antiqua，Claudio Rocha 和 Lucas Franco 基于 Koch-Antiqua 复刻的字体，Cast 出品 LL Heymland，Yevgeniy Anfalov 基于 Solomon Telingater 作品而设计的字体（后者学习了 Koch-Antiqua 的设计），Lineto 出品 Rudolf Koch. Das Kleine Blumenbuch. 1922.（Poem Editions 现有重印版） Neuland，科赫于 1923 年设计的字体，Klingspor Type Foundry 出品 Rudolf Koch. Das Schreiben als Kunstfertigkeit. 1925 Kabel，科赫设计的几何风格无衬线体，Klingspor Type Foundry 于 1927 年出品 Syntax，Hans Eduard Meier 设计的人文风格无衬线，Linotype 出品 《奥芬巴赫版哈加达》（Offenbacher Haggadah）（《哈加达》是犹太典籍之一），科赫为其设计了字体 嘉宾 谭沛然：The Type 编辑，交互和平面设计师、设计史研究者 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 欢迎加入 The Type 会员计划，每月可通过会刊获得本节目更多图文扩展阅读，并享受礼品赠送、活动优惠以及购物折扣等权益。

A máquina de composição de tipos de chumbo do imigrante alemão Ottmar Mergenthaler, inventada no ano de 1886, em Baltimore, nos EUA, alcançou enorme sucesso. Com uma máquina de composição da marca Linotype, equipada com chumbo em ponto líquido, era possível compor uma linha inteira de texto. Esta linha, assim que batida no teclado da máquina, era logo fundida.Veja a matéria completa em: https://operamundi.uol.com.br/historia/4043/hoje-na-historia-1886-inventor-alemao-ottmar-mergenthaler-cria-o-linotipo----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária: www.operamundi.com.br/apoio★ Support this podcast ★

Have you ever wondered when and where printing was invented? Or who created the first “print”? Tune in to find out more about the history of printing and how we got to where we are. While the printing presses we personally own were manufactured over 100 years ago… the full history of printing spans over 1400 years. This overview of the history of print will help all of us understand our beloved letterpress machinery and what makes it so special. During this episode, we'll talk about the origins of letterpress and movable type as well as some of the more modern printing methods. All of them helped create the modern household printers we all know, love and – sometimes – hate! Don't forget to join the conversation on Instagram: @hotoffthepresspod Quotable Moments: “So it's basically a typewriter for literal molten lava” At 17:05 “I just think it's mind-blowing that a lot of the modern presses that are used in commercial printing were basically invented in the mid-1800s.” at 30:55 Links & Resources Lots of links here, since this was such an informational podcast. Check our our *starred* options for our favorites! The first moveable type & the origin of the printing press o The Invention of Woodblock Printing in the Tang (618–906) and Song (960–1279) Dynasties o Technological Advances during the Song – Printing o *Learn more about Choe Yun-ui who created a printing press 150 years before Gutenberg… So, Gutenberg didn't actually invent the printing press?” Gutenberg o Who Was Johannes Gutenberg? Etching o Etching Hot metal typesetting o *How mechanical typesetting works - an old film and absolutely incredible video on Linotype! Rotary Press o The First Rotary Press o Friedrich Koenig & his high-speed steam-powered rotary printing press (in 1814) o American inventor, Richard March Hoe Offset Printing o The Offset Printing Process: How It Works Inkjet Printing o What is an inkjet printer? How they work, their advantages & their disadvantages Laser Printing o How Do Laser Printers Work · *The Printable Pallette (By Design By Laney) – Highly recommended resource for designers/stationers who outsource their digital printing

Simon Cox talks with Jason Barnard about it's OK to be a webmaster. Simon Cox is a jack of all trades (and proud of it) - technical SEO consultant, webmaster, designer, typographer, developer, blogger, model maker. In this fantastic episode, Simon and Jason Barnard talk about the idea of leveraging multi-skills and high-level understanding for project oversight in the web development process. Simon explains what it means to be a webmaster and why companies, either big or small, need a generalist. Jason responds with a fun analogy comparing ultra-experts to a wonky table, something you definitely should watch out for. They go on to exchange stories and insights into why it might be a good move to be a generalist and not be dragged into specialisation. The roles and opportunities for a generalist are probably more varied and interesting than you imagine. Simon shares his experience with the Badger Trust, but also how he “killed” the Linotype machine operators' jobs by being one of the first Mac desktop publishing experts in the UK. Plus you'll also get his predictive insight of where the ultra experts in the fields will end up if they don't take some time to get bits of experience from other fields. As always, the show ends with passing the baton…Simon groovily hands over to next week's stunning guest, Alisa Meredith. What you'll learn from Simon Cox 00:00 Simon Cox and Jason Barnard00:48 Simon Cox's Brand SERP04:47 What was the role of a webmaster in the 1990s?10:43 Why we need webmasters today more than ever12:54 Where a webmaster really shows their value16:26 Is the role of webmaster only appropriate for small businesses?17:46 The problem with being an ultra-specialist SEO21:55 The foundational skills a generalist SEO needs23:52 Knowing where to look is more important than knowing26:56 Dangers of over-specialisation in SEO30:53 Example: Simon explains his role at The Badger Trust36:06 Variety is the spice of life… even in SEO41:43 Passing the Baton: Simon Cox to Alisa Meredith Helpful Resources: SimonCox.com This episode was recorded live on video October 05th 2021 Recorded live at Kalicube Tuesdays (Digital Marketing Livestream Event Series). Watch the video now >>

Simon Cox talks with Jason Barnard about it's OK to be a webmaster. Simon Cox is a jack of all trades (and proud of it) - technical SEO consultant, webmaster, designer, typographer, developer, blogger, model maker. In this fantastic episode, Simon and Jason Barnard talk about the idea of leveraging multi-skills and high-level understanding for project oversight in the web development process. Simon explains what it means to be a webmaster and why companies, either big or small, need a generalist. Jason responds with a fun analogy comparing ultra-experts to a wonky table, something you definitely should watch out for. They go on to exchange stories and insights into why it might be a good move to be a generalist and not be dragged into specialisation. The roles and opportunities for a generalist are probably more varied and interesting than you imagine. Simon shares his experience with the Badger Trust, but also how he “killed” the Linotype machine operators' jobs by being one of the first Mac desktop publishing experts in the UK. Plus you'll also get his predictive insight of where the ultra experts in the fields will end up if they don't take some time to get bits of experience from other fields. As always, the show ends with passing the baton…Simon groovily hands over to next week's stunning guest, Alisa Meredith. What you'll learn from Simon Cox 00:00 Simon Cox and Jason Barnard00:48 Simon Cox's Brand SERP04:47 What was the role of a webmaster in the 1990s?10:43 Why we need webmasters today more than ever12:54 Where a webmaster really shows their value16:26 Is the role of webmaster only appropriate for small businesses?17:46 The problem with being an ultra-specialist SEO21:55 The foundational skills a generalist SEO needs23:52 Knowing where to look is more important than knowing26:56 Dangers of over-specialisation in SEO30:53 Example: Simon explains his role at The Badger Trust36:06 Variety is the spice of life… even in SEO41:43 Passing the Baton: Simon Cox to Alisa Meredith Helpful Resources: SimonCox.com This episode was recorded live on video October 05th 2021 Recorded live at Kalicube Tuesdays (Digital Marketing Livestream Event Series). Watch the video now >>

Simon Cox talks with Jason Barnard about it's OK to be a webmaster. Simon Cox is a jack of all trades (and proud of it) - technical SEO consultant, webmaster, designer, typographer, developer, blogger, model maker. In this fantastic episode, Simon and Jason Barnard talk about the idea of leveraging multi-skills and high-level understanding for project oversight in the web development process. Simon explains what it means to be a webmaster and why companies, either big or small, need a generalist. Jason responds with a fun analogy comparing ultra-experts to a wonky table, something you definitely should watch out for. They go on to exchange stories and insights into why it might be a good move to be a generalist and not be dragged into specialisation. The roles and opportunities for a generalist are probably more varied and interesting than you imagine. Simon shares his experience with the Badger Trust, but also how he “killed” the Linotype machine operators' jobs by being one of the first Mac desktop publishing experts in the UK. Plus you'll also get his predictive insight of where the ultra experts in the fields will end up if they don't take some time to get bits of experience from other fields. What you'll learn from Simon Cox 00:00 Simon Cox and Jason Barnard00:48 Simon Cox's Brand SERP04:47 What was the role of a webmaster in the 1990s?10:43 Why we need webmasters today more than ever12:54 Where a webmaster really shows their value16:26 Is the role of webmaster only appropriate for small businesses?17:46 The problem with being an ultra-specialist SEO21:55 The foundational skills a generalist SEO needs23:52 Knowing where to look is more important than knowing26:56 Dangers of over-specialisation in SEO30:53 Example: Simon explains his role at The Badger Trust36:06 Variety is the spice of life… even in SEO This episode was recorded live on video October 05th 2021 Recorded live at Kalicube Tuesdays (Digital Marketing Livestream Event Series). Watch the video now >>

Liz Hylton is a woman of many talents. Not only is she a professor in mathematics, she is also an experienced funeral director, a lifelong learner and a full-time mom. She joins Jeff in the studio to talk about eduction, technology, parenting, religion, and to give a few stories from the vault of personal history. We go deep into topics revolving her work as owner/director of Pentilla's Chapel, and how that has led her to develop certain skills that most people lack. We also cover her work in education, transitioning to remote learning, and her love of Apple devices and the corresponding distain for PCs. We also delve into some very personal topics regarding our own lives and mental illness, suicide, and grief. This is amazingly easy to consume, considering the subject matter. Liz is so comfortable with the uncomfortable things in life and she tries to share some of that with me as I squirm my way through some tough conversations. This podcast made me feel good about being a human. We are all trying our best and we need to keep supporting one another through the hard times. I love you guys. Keep Ramblin. Topics/Keywords: Mathematics, funeral homes, mortuary, death, education, teaching, remote learning, online education, algebra, using math everyday, statistics, FOX news polls, CNN, political polls, Joe Rogan, calculus, critical thinking, crab, Peruvian math techniques, arrow diagrams, ladder diagram, common core math, Sputnik, set theory, function theory, binary, racial bias, racism, cultural bias, standardized testing, political protest, logic, math education software, A League of Their Own, grief, mourning, loss, emotional support, horror movies, University of Phoenix, Clatsop Community College, Central Oregon Community College, doctoral dissertations, resistance to change, student-centered teaching, Zoom Video, Centurylink, rural broadband, AT&T, Elon Musk, Starlink, satellite internet, Saturday Night Live, Asperger’s Syndrome, blockchain, Jim Patterson, Bill Clinton, The President is Missing, hacking, data breaches, mass coronal ejection, solar flares, finance, digital vulnerability, Apple Computers, iPod, iPhone, stock trading, Windows personal computers, Windows Vista, Mac OS, Apple Pencil, drawing, dongles, Fitbit, Apple Watch, Costco, Linotype, inner type printing, Good Samaritan School of Nursing, Belfast Ireland, IRA bombings, Benson Highschool, Portland Bible College, Religion, Heaven, Hell, Southern Baptist churches, Jesus People Movement, born-again Christians, Mana House, Portland Oregon, Legalism, Calvinism, mental health, mental illness, Bible scripture, prayer, intuition, Devine intervention, depression, suicide, addiction, intervention, Jeff and Geoff inc, Grace, ghosts. Links: Business inquiries/guest booking: Ramblebytheriver@gmail.com Website: https://my.captivate.fm/Ramblebytheriver.captivate.fm (Ramblebytheriver.captivate.fm) Facebook: Jeff Nesbitt (Ramble by the River)https://www.facebook.com/jeff.nesbitt.9619 (https://www.facebook.com/jeff.nesbitt.9619) Instagram: https://instagram.com/ramblebytheriver?r=nametag (@ramblebytheriver) Twitter: @RambleRiverPod Youtube: https://youtube.com/channel/UCNiZ9OBYRxF3fJ4XcsDxLeg (https://youtube.com/channel/UCNiZ9OBYRxF3fJ4XcsDxLeg) Music Credit(s): Still Fly, Revel Day. Suddenly Deeply Interested, Blue Topaz. Under the Dome, Philip Ayers. Fighting Another Day (instrumental), Thyra. No More Heartbreaks, Mica Emory.

ضيفة الحلقة [ د. نادين شاهين ] زمان كان الخط العربي يستخدم غالباً في الكتب والرسائل… لكن اليوم الخط العربي بنشوفه وبنستخدمه في كل أجهزتنا من التليفون للكمبيوتر للتلفزيون وحتى في البودكاست زي ما إنتم شايفين! لكن هل في يوم أتخيلتوا كمية العناء اللي مصممي الخطوط يواجهوه عشان إحنا نقدر نستخدم الخط ونقرأه بكل سلاسة ومن غير ما نفكر؟ وإذا كنتم مصممي جرافيكس حتفهموا قد إيش ينرفز أحياناً إنكم ما تقدروا تلاقوا خطوط عربية مناسبة لتصاميمكم بالذات لما نقارنها بوفرة الخيارات الموجودة في الخطوط الأخرى زي الإنجليزية. وعشان كدة قررنا إننا نقعد اليوم مع أحد دوافير تصميم الخط العربي في العالم وندردش معاها عن هذا الموضوع بهدف إننا نوصل لبعض الإجابات. ضيفتنا اليوم الدكتورة نادين شاهين وهي مصممة خطوط من بيروت ودرست التصميم الفني في الجامعة الأميركية وكمان درست تصميم الخطوط الطباعية في جامعة ريدينغ بالمملكة المتحدة. واشتغلت في شركة Linotype الألمانية ذائعة الصيت في مجال التيبوغرافيا كخبيرة في القسم العربي. ويميز د. نادين نظرتها العصرية للخط الطباعي العربي وتركيزها على الموائمة ما بين الخط العربي الطباعي ونظيره اللاتيني، وأشتغلت على إبتكار وتطوير الكثير من الخطوط المستخدمة اليوم من أبرزها خط مدينة دبي. وإذا تبغوا تعرفوا أكثر عن د. نادين ممكن تتابعوها على حساباتها في شبكات التواصل الإجتماعي: @Arabictype أو على صفحتها الخاصة: www.arabictype.com وللي حابين يشاركوا معانا في السحب على خمسة صناديق هدايا من تستاهل و مستدفر… ممكن تسجلوا معلوماتكم على هذا الرابط ( testahelbox.com/ ) ولا تنسوا تستخدموا الكود الخاص (مستدفر) عشان تدخلوا السحب. وحنختار الفايزين خلال الحلقات الجاية!

ضيفة الحلقة [ د. نادين شاهين ] زمان كان الخط العربي يستخدم غالباً في الكتب والرسائل… لكن اليوم الخط العربي بنشوفه وبنستخدمه في كل أجهزتنا من التليفون للكمبيوتر للتلفزيون وحتى في البودكاست زي ما إنتم شايفين! لكن هل في يوم أتخيلتوا كمية العناء اللي مصممي الخطوط يواجهوه عشان إحنا نقدر نستخدم الخط ونقرأه بكل سلاسة ومن غير ما نفكر؟ وإذا كنتم مصممي جرافيكس حتفهموا قد إيش ينرفز أحياناً إنكم ما تقدروا تلاقوا خطوط عربية مناسبة لتصاميمكم بالذات لما نقارنها بوفرة الخيارات الموجودة في الخطوط الأخرى زي الإنجليزية. وعشان كدة قررنا إننا نقعد اليوم مع أحد دوافير تصميم الخط العربي في العالم وندردش معاها عن هذا الموضوع بهدف إننا نوصل لبعض الإجابات. ضيفتنا اليوم الدكتورة نادين شاهين وهي مصممة خطوط من بيروت ودرست التصميم الفني في الجامعة الأميركية وكمان درست تصميم الخطوط الطباعية في جامعة ريدينغ بالمملكة المتحدة. واشتغلت في شركة Linotype الألمانية ذائعة الصيت في مجال التيبوغرافيا كخبيرة في القسم العربي. ويميز د. نادين نظرتها العصرية للخط الطباعي العربي وتركيزها على الموائمة ما بين الخط العربي الطباعي ونظيره اللاتيني، وأشتغلت على إبتكار وتطوير الكثير من الخطوط المستخدمة اليوم من أبرزها خط مدينة دبي. وإذا تبغوا تعرفوا أكثر عن د. نادين ممكن تتابعوها على حساباتها في شبكات التواصل الإجتماعي: @Arabictype أو على صفحتها الخاصة: www.arabictype.com وللي حابين يشاركوا معانا في السحب على خمسة صناديق هدايا من تستاهل و مستدفر… ممكن تسجلوا معلوماتكم على هذا الرابط ( testahelbox.com/ ) ولا تنسوا تستخدموا الكود الخاص (مستدفر) عشان تدخلوا السحب. وحنختار الفايزين خلال الحلقات الجاية!

The Linotype machine revolutionized printing in the 1880s and 90s making it much faster and cheaper. For almost a century, Linotype ruled the newspaper industry until it was replaced by more high tech methods in the 1970s and 80s. But there are still a few of these machines around including two at DWRI Letterpress on Rice Street in Providence. Dan Wood has used his Linotype machine every day for the last year to comment on the news and document his life.

The Linotype machine revolutionized printing in the 1880s and 90s making it much faster and cheaper. For almost a century, Linotype ruled the newspaper industry until it was replaced by more high tech methods in the 1970s and 80s. But there are still a few of these machines around including two at DWRI Letterpress on Rice Street in Providence. Dan Wood has used his Linotype machine every day for the last year to comment on the news and document his life.

Kimya Gandhi is a type designer from Mumbai with a passionate interest in Indic type design. She is an alumnus of National institute of Fashion Technology and Industrial Design Centre, IIT Mumbai. She got her professional start interning at Linotype in 2010. Over the next few years she freelanced for several type foundries catering to their multi-script requirements. In 2015, she became a partner at Mota Italic and now focuses on Indic and Latin designs for retail and custom corporate projects. On this episode, we talk about Kimya’s journey as a designer and about some of her key type design projects. She also talks about the unique challenges of designing fonts for Indic scripts and about business aspects of the type design industry. RELEVANT LINKS Kimya Gandhi - kimyagandhi.wordpress.com Motaitalic type foundry - www.motaitalic.com Madh Island - en.wikipedia.org/wiki/Madh_Island NIFT - nift.ac.in Fashion Communication - www.nift.ac.in/bdesfc NID - www.nid.edu Lettering - en.wikipedia.org/wiki/Lettering IDC, IIT Mumbai - www.idc.iitb.ac.in White Crow Design - whitecrow.in Type Design at Univ. of Reading - typefacedesign.net Type Design at KABK, Netherlands - www.kabk.nl/en/programmes/master/type-and-media CDAC - cdac.in Fontographer - en.wikipedia.org/wiki/Fontographer Prof. Kirti Trivedi - www.idc.iitb.ac.in/kirti/index.html
Kohei Sugiura - www.academia.edu/28689470/Kohei_Sugiura_Graphic_Design_Methodology_and_philosophy Gurmukhi Script - en.wikipedia.org/wiki/Gurmukhi
Mahendra Patel - designedthisway.com Linotype - www.linotype.com Monotype - www.monotype.com Indian Type Foundry - www.indiantypefoundry.com Satya Rajpurohit - www.indiantypefoundry.com/about
Devanagri - en.wikipedia.org/wiki/Devanagari DIN Next - www.linotype.com/517415/din-next-family.html Jubilee - www.linotype.com/317196/jubilee-family.html Akira Kobayashi - www.monotype.com/studio/akira-kobayashi
Type design intensive course - http://typefacedesign.net/courses/tdi/
Cleveland Museum of Art - www.clevelandart.org
Gerry Leonidas - leonidas.net
Fiona Ross - www.reading.ac.uk/typography/about/Staff_list/f-g-e-ross.aspx
Indic Scripts - en.wikipedia.org/wiki/Brahmic_scripts
Dr Vaibhav Singh - www.reading.ac.uk/typography/about/Staff_list/v-singh2.aspx
Rob Keller - www.motaitalic.com/info/about/
Sharad Typeface Download. - setuadvertising.com/sharad76/
SETU Advertising - setuadvertising.com
Conjunct consonant - en.wikipedia.org/wiki/Conjunct_consonant
Maku Typeface - www.motaitalic.com/product/maku/
Dingbats - en.wikipedia.org/wiki/Dingbat
Glyphs App - glyphsapp.com Robofont - robofont.com
Chikki Typeface - www.motaitalic.com/product/chikki/ Chikki, the food - en.wikipedia.org/wiki/Chikki Boaty, McBoatface - en.wikipedia.org/wiki/Boaty_McBoatface Shirorekha - idc.iitb.ac.in/resources/dt-jan-2009/Anatomy%20of%20Devanagari.pdf Physics Envy - en.wikipedia.org/wiki/Physics_envy
Link to my upcoming Gurumukhi Type Inspiration (Mentioned in the podcast) - www.instagram.com/p/BrzbZT3Hxqr/
Golden Temple - en.wikipedia.org/wiki/Golden_Temple Type Design Resources from Motaitalic - www.motaitalic.com/info/type-design-resources/
David Jonathan Ross - djr.com
Inga Plönnigs - www.ingaploennigs.com OTF - en.wikipedia.org/wiki/OpenType TTF - en.wikipedia.org/wiki/TrueType WOFF - en.wikipedia.org/wiki/Web_Open_Font_Format
Futurefonts - www.futurefonts.xyz EULA - en.wikipedia.org/wiki/End-user_license_agreement
Apache License - en.wikipedia.org/wiki/Apache_License
Danfo Std by Da Design - dadesign.studio/work/danfo-std

We're joined by Malek Mrowa for Episode 89 of The Beirut Banyan, and we discuss the role of journalism in modern Lebanon's history and the renewal of political discourse through citizenship and citizen journalism during the ongoing revolt. Malek joined the Democratic Renewal Movement (Tajaddod) in its early stages with founding member Nassib Lahoud. He reflects on Nassib Lahoud's legacy, ethical principles too often lacking among Lebanese politicians and where Tajaddod is today. Malek also talks about his friendship with Samir Kassir, the political positions they shared and why today's events mirror exactly what Samir Kassir wanted. Malek Mrowa's father, Kamel Mrowa, founded Al-Hayat Newspaper in 1946 and The Daily Star in 1952. We also talk about Linotype typewriters and the 'Mrowa font' that emerged several years alter, known better as Simplified Arabic. The documentary we discuss in the episode can be watched via the following link: https://www.youtube.com/watch?time_continue=15&v=pMt3o0o7jPk&feature=emb_logo If you're enjoying these episodes, help support The Beirut Banyan by contributing via PayPal: https://www.paypal.me/walkbeirut Or donating through our Patreon page: https://www.patreon.com/thebeirutbanyan And subscribe to our podcast from your preferred podcast platform. Follow us on Instagram: thebeirutbanyan Twitter: beirut_banyan Facebook: The Beirut Banyan Website: www.beirutbanyan.com Music by Marc Codsi. Graphics by Sara Tarhini.

Substantiv

Welcome to Unsolved Mysteries of the World Season 6 Episode 14 The Old Idaho Penitentiary Part II.In 1932, Joseph F. Hook, a well-known author of pulp fiction stories, and his wife, Edna, moved to 4312 N 37th Street with their three children: Clyde, 21, Mildred, 19, and Vincent, 18.Carl C. Van Vlack, a bottler at the Columbia Brewery, his wife, Edna, and their son, Douglas, 28, lived around the corner on the same block at 3621 N Stevens Street in Tacoma. Mildred Hook met Douglas F. Van Vlack in the spring of 1933 while searching for the Hook family dog, “Buster.” and soon they began seeing each other.The couple was privately married in Shelton on July 28, 1933, and kept it secret for five months before telling their parents, who weren’t especially pleased. In December 1933, they moved to an apartment at 801 North I (Eye) Street in Tacoma. But living together proved difficult from the beginning. Mildred was gregarious and Douglas was misanthropic. Mildred had a good job with the Washington Gas and Electric Company as a cashier and Douglas, sullen and argumentative, was unemployed and had difficulty holding jobs. He was drinking heavily and started to physically abuse her. Mildred filed her first divorce action on November 29, 1934, but the couple got back together when Douglas got a steady job driving a truck for the Delicious Ice Cream Company. But he proved unreliable and irresponsible and several months later was discharged. In early 1935, he was employed by Meadowsweet Dairies as a milk-truck driver, but was soon fired for insubordination.In September 1935, during an argument over money at the Van Vlack home, Douglas shoved Mildred down a flight of stairs and locked her out of the house. After cutting her hand on broken glass while trying to regain entrance, Mildred retreated to her parents home, bruised and bloody. The following day, she filed for divorce, charging “burdensome home life and spousal abuse,” and was granted a restraining order prohibiting Douglas from having any contact. Douglas retaliated by stealing all her clothes and jewelry from their apartment and burying them in the ground. Mildred and her attorney responded by a filing theft complaint. Douglas was arrested on September 15, 1935, but the complaint was later dismissed on plaintiff’s motion when items were returned, even though dirt and mold had ruined Mildred’s clothes.Meanwhile, both Mildred and Douglas moved home to live with their respective parents. On October 11, 1935, Mildred obtained an interlocutory degree of divorce, and was granted the right to assume her maiden name. Mildred resumed a normal life and went to work every day, while Douglas became morose and isolated himself. He became obsessed with getting Mildred back and began stalking her and watching the Hook home for male visitors. On Sunday, October 18, Mildred went to a physician for treatment after being tied up and raped by Van Vlack.On Thursday, November 14, Douglas forced Mildred to accompany him on an afternoon automobile ride, then bound her wrists and again physically attacked her. The following day, Mildred and her attorney went to Pierce County Deputy District Attorney Stewart Elliott to file a complaint against Douglas for criminal assault. But when she learned the penalty was 20 years in prison, she decided to drop the charge. Instead, she wanted Elliott to talk to Van Vlack and enforce the restraining order.However on Monday morning, November 18, Joseph F. Hook and his attorney, Idaho State Senator Wesley Lloyd, demanded Elliott charge Douglas Van Vlack with violation of the new Washington state kidnapping law. Elliott said it didn’t meet the criteria for kidnapping, since there was no request for ransom, but agreed to charge Van Vlack with abduction and assault.Sometime during the week, Van Vlack stole a .38-caliber Remington Model 51 semi-automatic pistol and shoulder holster from Morley Barnard, a casual friend, who was living at the YMCA. Earlier Van Vlack told Barnard he planed to take Mildred to Mexico and if anyone interfered, he would kill her. Barnard didn’t realize his gun was missing until days later.At 5:30 p.m. on Saturday, November 23, 1935, Mildred Hook was on her way home from work with her close friend, Doris Clark, age 20, a student nurse. The two women had just stepped off a downtown streetcar and were walking north on Mason Avenue toward the Hook residence when Douglas Van Vlack drove his car over the sidewalk, blocking their path. He got out of the car, brandishing a pistol and smelling of liquor. The couple quarreled for 15 minutes, then he told Mildred she had 30 seconds to get into the car or he would shoot her and commit suicide. When Clark tried to intervene, Van Vlack pointed the gun at Mildred, and shoved her, crying, into the car. Before driving away, he told Clark to tell Mildred’s father he would kill her if anyone set the police on their trail or tried to interfere in any way.When Joseph Hook learned of his daughter’s abduction, he immediately contacted Deputy District Attorney Elliott who obtained a bench warrant for Van Vlack’s arrest. The Tacoma Police Department alerted law enforcement up and down the West Coast to be on the lookout for the couple traveling in Van Vlack’s slate-gray 1931 Ford Model A coupe bearing Washington license plates.With Mildred as hostage, Van Vlack sped down the Pacific Highway (US Highway 99) toward California and the United States-Mexican border. At 10:45 p.m., she telephoned her uncle, Frank Michel, in Portland, Oregon, telling him she was all right but was being forcibly detained and Van Vlack had threatened to kill her if anyone notified the police. At Salem, Van Vlack headed east across central Oregon to Boise, Idaho. They had been driving for 24 hours straight and arrived in Boise about 5:00 p.m. on Sunday, November 24. The couple stayed overnight in a Boise hotel and departed late Monday morning for Salt Lake City. While in Boise, a telegram was sent to Mildred’s parents, under her name, purporting she was safe and would be returning to Tacoma soon. Van Vlack also sent a telegram to his parents: “Sorry I had to do this. Everything all right. Letter follows. Douglas” But a letter never came.At 2:00 p.m. on Monday, November 25, 1935, Idaho State Patrolman Fontaine Cooper, age 34, and Twin Falls Deputy Sheriff Henry C. Givens, age 45, spotted Van Vlack’s 1931 Ford coupe on Highway 30, a half-mile east of Buhl. The officers pulled Van Vlack over to the side of the road, then got out on foot and approached the vehicle. Cooper ordered Van Vlack to step out of the car and when he didn’t respond, opened the driver’s door. Van Vlack pulled his pistol from the left pocket of his topcoat and shot Cooper through the left eye, killing him instantly. When Givens went for his gun, Van Vlack shot him three times: in the throat, in the left arm, shattering the bone, and through the left hand. With both officers down, Van Vlack calmly drove down the highway toward Twin Falls.Clifford Hammond, a farmer from Buhl, was an eyewitness to the shootings. He was passing in his truck and watched the event unfold in his rear view mirror. As soon as Van Vlack left, Hammond went to the scene, found Cooper dead and Givens critically wounded. Hammond put Givens in his truck and rushed to the Twin Falls County Hospital. Then he telephoned the news to Twin Falls County Sheriff Edwin F. Prater, who immediately ordered a countywide dragnet for Van Vlack’s automobile. Sheriff’s posses set up roadblocks on all roads and highways leading out of the county and guarded all bridges and service stations. Radio stations broadcast descriptions of the couple and asked the public for assistance in locating Van Vlack’s car. It was the biggest manhunt in south central Idaho’s history with hundreds of posse-men, armed with weapons from the Idaho National Guard armory and scores of radio-equipped cars, searching for the killer.For the rest of the day, Van Vlack played a game of cat and mouse with sheriff’s patrols and roadblocks. He hid the car in the sagebrush on the Salmon Tract until nightfall and removed his license plates, hoping for the opportunity to steal another set off an Idaho car. Van Vlack wanted to head south into Nevada, but roadblocks on the highway forced him to stay on unmarked backroads, which seemingly led nowhere. Eventually Van Vlack, low on gasoline, ditched his car in a dry irrigation canal near the small farming community of Berger and the couple set out on foot.The night was clear and the temperature dropped into the 20s. The couple was lightly clad, having left Tacoma with no winter clothing. Van Vlack wore a topcoat and street clothes, and Hook wore a suede coat over a woolen dress and high-heeled pumps. Mildred had gloves, but neither wore a hat. They set out on foot, walking through sagebrush, across fields and along the banks of irrigation canals to avoid being seen. They periodically took shelter inside haystacks and culverts to get out of the biting wind.At dawn on Tuesday morning, November 26, 1935, two spotter planes left Twin Falls to assist the sheriff’s posses searching for the couple. At 8:15 a.m. a posse found Van Vlack, cold and exhausted, huddled in a roadside ditch along Highway 93 approximately two miles north of Hollister. Carl Groth, a Linotype operator for the Twin Falls Idaho Evening Times, disarmed Van Vlack, who claimed his name was Jack Burke, and held him at gun point until Sheriff Prater arrived. The prisoner was taken to Twin Falls and lodged in the jail atop the county courthouse. That afternoon, a search party found Van Vlack’s Ford coupe in a dry irrigation ditch on the Salmon Tract, a mile and a half southeast of Berger and about three miles from where he was arrested.Although Van Vlack admitted shooting the two police officers, he insisted Mildred was uninjured and was likely making her way back to Tacoma. He told Sheriff Prater they parted company in the middle of the night because he would have a much better chance of escaping alone. But when Prater found blood and long black hairs stuck to the butt of Van Vlack’s pistol, he worried Hook had been bludgeoned on the head and was lying unconscious somewhere in the freezing cold.On Wednesday, November 27, Twin Falls District Attorney Edward C. Babcock filed a complaint against Van Vlack in probate court before Judge Guy L. Kinney. Van Vlack, who appeared without counsel, waived a preliminary hearing and was bound over for trial. Judge Kinney ordered him to be held without bond in the county jail until the next term of district court, scheduled for January 1937.Scores of volunteers, led by Twin Falls Police Chief Samuel B. Elrod, renewed their efforts to find the missing victim. Search parties picked up the couple’s tracks at the site of Van Vlack’s abandoned car and slowly and methodically began following the footprints. One set led to the top of an irrigation canal, then seemed to disappear. On Thursday, November 28, 1935, in the off-chance that Hook had drowned, water was shut off in the Twin Falls Canal Company irrigation system, allowing 12 hours to search the tract canals for Hook’s body.Chief Elrod and his search team discovered two sets of footprints leading to the Union Pacific Railway tracks and followed. Finally, at 8:45 a.m. on Friday morning, November 29, they found the frozen body of Mildred Hook lodged in a 16-inch galvanized steel culvert underneath the track bed, approximately one-and-a-quarter miles northwest of Berger. The ends of the culvert had been plugged with sagebrush to hide the body. Mildred Hook appeared to have died from a massive head wound and when Chief Elrod removed the body, he found a bullet inside the culvert and an empty .380-caliber cartridge casing on the ground nearby. A single set of male footprints led away from the culvert, down the railroad tracks toward Hollister.Twin Falls County Coroner Harwood L. Stowe was called to the scene of the murder and ordered that Mildred Hook’s body be taken immediately to the White Mortuary in Twin Falls for an autopsy. At the coroner’s inquest, held on Saturday morning, the jury determined that Hook’s death was caused by Douglas Van Vlack, who fractured her skull with a blow to the head and shot her through the left eye. After the inquest, Clyde and Vincent Hook, Mildred’s brothers, arranged to ship her body by train to Tacoma for burial.The body of Idaho Patrolman Fontaine Cooper lay in state for two days at the White Mortuary in Twin Falls, then was taken to his home town of Lava Hot Springs, Idaho, for burial in the community cemetery. A poignant funeral service was held on Friday afternoon, November 29, attended by Idaho Governor Charles Ben Ross and scores of police officers from Idaho and the surrounding states. He had been an Idaho patrolman for 12 years, and left behind a wife and one child.Meanwhile, Van Vlack seemed to be willing to admit his crimes to whomever would listen. On the day of his capture, he gave Prosecutor Babcock a 17-page statement, confessing to shooting the two police officers, but refused to sign it. He said “Kidnapping is a capitol offense in Washington and I thought I might as well burn them up” Van Vlack steadfastly denied harming his ex-wife until Sheriff Prater confronted him with photographs of her body. Then he admitted shooting her.Van Vlack also confessed to Buhl Police Chief Arthur C. Parker, and gave a two-hour interview to Associated Press reporter Walter A. Beasley, during which he admitted hitting Mildred on the head and shooting her as she emerged from the culvert. He claimed his motive was revenge against the Hook family for breaking up his marriage. “If Mildred’s father had kept his nose out of our affairs, all this would not have happened,” he declared. Joseph Hook, however, believed that Mildred knew too much and, in addition to witnessing Cooper’s murder, could link him to other crimes in the Tacoma area.The funeral for Mildred Hook was held at the Buckley-King Funeral Church, 201 S Tacoma Avenue, on Tuesday afternoon, December 2, 1936. The elaborate service, conducted by the Order of the Eastern Star, a large fraternal organization, was attended by family and hundreds of friends, after which her body was entombed in a crypt at the Tacoma Mausoleum.Although Henry Givens appeared to be slowly recovering, his throat wound became infected and he developed pneumonia. He died at the Twin Falls County Hospital at 9:25 p.m. on Sunday, December 8, leaving behind a wife and six children. Givens had been a Twin Falls deputy sheriff for three years.On Tuesday, December 10, District Attorney Babcock filed an information in Idaho District Court, charging Van Vlack with first-degree murder, but only in the death of Fontaine Cooper. The prosecution needed only prove one premeditated death to qualify the defendant for the death penalty. Babcock decided to hold the additional murder charges in abeyance, pending the outcome of the first trial, then file if necessary.The funeral for Henry C. Givens was held on Wednesday afternoon, December 11, in the First Presbyterian Church and he was buried in the Twin Falls Cemetery. The service, conducted by six ministers of the Church of the Nazarene, was attended by hundreds of police officers and friends.Van Vlack pleaded not guilty at his arraignment in Idaho District Court on Monday, December 16. He was represented by Embert V. Larson, a former Twin Fall District Attorney, and Leo Teats, an attorney from Tacoma. Judge Adam B. Barclay set the trial date for Monday, January 20, 1936, and ordered Van Vlack held without bail in the Twin Falls County Jail.On Wednesday, January 15, the charge against Van Vlack for the premeditated murder of Fontaine Cooper was dismissed on motion of the prosecution and replaced with the premeditated murder of Mildred Hook. Van Vlack maintained his plea of not guilty.Trial began on schedule in the Twin Falls County Courthouse before Judge Barclay but was slowed by jury selection. In addition to District Attorney Babcock, the prosecution team now included Idaho Attorney General Bert H. Miller and his senior assistant, J. W. Taylor. Questioning of the prospective jurors revolved around their impressions of the crime gained from the news media and their views about an insanity defense and the death penalty. After four days of questioning, a jury of 14 men, including two alternates, was selected.Opening statements and testimony commenced on Friday morning, January 24, 1936. The prosecution stated simply that the defendant killed his ex-wife for reasons of jealousy and revenge. He had declared his murderous intentions to Joseph Hook and others, stolen a firearm for the purpose, killed Mildred and then confessed his crime to several witnesses. The defense maintained that Van Vlack had been temporarily insane when he killed Mildred Hook. He had borrowed the gun to protect a large amount of money he was carrying on his person, had abducted Mildred to save his marriage, had only meant to wound the two Idaho police officers, claimed she was alive when they parted company, and had no memory of her death.The trial testimony lasted two weeks. The prosecution rested its case after three days of direct testimony. The defense called Carl and Edna Van Vlack and Mrs. Ethel Bennett, Edna’s sister, who testified about the family’s alleged history of hereditary insanity and Douglas’s troubled childhood. Douglas Van Vlack took the stand and laid all the blame for the murders on Joseph Hook, who hated him because he was not good enough for his daughter, turned Mildred against him, and wrecked his marriage. He also claimed his confessions had been fabricated by the police. Three expert witnesses, one psychiatrist and two medical doctors with psychiatric training, testified that Douglas suffered from manic depression (now called bipolar disorder). He had been temporarily insane at the time of the killing and therefore was not responsible for his actions.Closing arguments began on Thursday afternoon, February 6. Idaho Attorney General Miller addressed the jury for four hours, outlining the state’s evidence and concluding with a request for a first-degree murder verdict and the death penalty. The defense argued that a series of events, caused mostly by Joseph Hook, combined to unbalance Van Vlack, making him incapable of premeditated murder. Further, the state’s evidence against the defendant for the murdering of Mildred Hook was weak and circumstantial, and his alleged confessions contrived.The trial concluded on Friday night, February 7, and the case went to the jury. At 2:20 p.m. the following day, Judge Barclay reconvened the court and the jury delivered its verdict. Van Vlack was found guilty of first-degree murder and the jury voted to impose the death penalty. Although sequestered for 17 hours, the jury had deliberated for seven hours and 30 minutes.On Tuesday afternoon, February 11, Judge Barclay sentenced Van Vlack “to be hanged by the neck until dead,” set the execution date for Saturday, April 3, 1936, at the Idaho State Penitentiary in Boise and signed the commitment order. On Friday, February 14, Sheriff Prater, accompanied by three deputies, shackled Van Vlack and loaded him into the back seat of a patrol car for the two-and-a-half hour trip from Twin Falls to Boise. Although it would prove be his last ride, Van Vlack appeared happy. It was the first time he had been out of the county courthouse in three months.Van Vlack’s execution date was stayed on March 12, when his attorneys filed notice of intention to appeal the conviction to the Idaho State Supreme Court. His case was argued before the tribunal on November 9 and Van Vlack appeared before the justices asking that his death sentence be commuted to life imprisonment. On December 10, the supreme court upheld his conviction in district court and, on February 9, 1937, affirmed the sentence of death. Van Vlack’s attorneys made two more appeals to the state supreme court for a commutation of his death sentence, but the petitions were denied. The U.S. Supreme Court refused to review the case. On October 29, Twin Falls District Court Judge James Porter scheduled Van Vlack’s hanging for December 10, 1937.In a last-ditch effort, Van Vlack’s chief counsel, Robert Ailshie Jr., appealed his death sentence to the Idaho board of pardons. A commutation hearing was held on Monday, December 6 to consider documents submitted by Ailshie alleging jury prejudice and misconduct, and affidavits from a psychiatrist stating Van Vlack was hopelessly and incurably insane. The pardons board turned down Van Vlack’s commutation appeal by a vote of two to one and Idaho Governor Barzilla W. Clark chose not to interfere with the execution.Meanwhile, a gallows was constructed in the elevator shaft of the former shirt factory, which operated between 1923 and 1933, at the Idaho State Penitentiary. The previous person to die on the gallows was John Jerko, on July 9, 1926, who was also convicted of murder in Twin Falls. This time, instead of a state executioner, the trapdoor would be sprung electronically by one of four red buttons pushed by Warden William H. Gess and three prison officials. The warden scheduled the execution for 12:10 a.m. on Friday morning so that “things could be cleared up before the inmates at the institution awoke the next morning” (Boise Capital News).At 6:30 p.m. on Thursday, December 9, Reverend Frank A. Rhea, from Saint Marks Episcopal Church in Boise, visited Van Vlack in his cell to administer the last sacraments. A short time later, his parents, Carl and Edna Van Vlack, arrived to visit Douglas at the open door of his cell, under the watchful eye of prison guard Al Baker.At 7:12 p.m., as the Van Vlacks left the cell block, Douglas broke away from Baker, jumped onto a nearby table and scrambled up three tiers of cells into the rafters. He walked on a beam to the opposite side of the cell block, then stayed there, looking at the concrete floor some 30 feet below. Warden Gess ordered him to come down, then sent guards to fetch a fire net. Prison chaplain Reverend Arvid C. Ohrnell and attorney Ailshie begged Van Vlack to come down, but he did not respond.Jumping to His DeathAt 7:42 p.m., just as the guards returned with a fire net, Van Vlack shouted “I have a right to choose the way I die” (Boise Capital News). Then he plunged forward and hit the floor on his head and left shoulder. Dr. George H. Wahle, the prison physician, determined Van Vlack was still alive, rolled him onto a mattress and covered him with a blanket. There was some discussion whether Van Vlack should be hanged if he was still alive at execution time. When Dr. Wahle determined the prisoner’s death was only a matter of time, Warden Gess called off the execution.Van Vlack was pronounced dead at 12:32 a.m., Friday, December 10, having never regained consciousness. “Death was caused by a broken neck, possibly a fractured skull, internal hemorrhages and other injuries,” Dr. Wahle said (Tacoma New Tribune). At 1:30 a.m., an ambulance took Van Vlack’s body to the McBratney Funeral Parlors where Ada County Corner James T. McCann discovered the broken half of a razor blade concealed under his upper lip; the other half was found in his cell. Prison officials surmised he was determined to commit suicide one way or another, but had no idea where the pieces of razor blade came from. Later that morning Van Vlack’s parents made arrangements to ship Douglas’s body by train to Tacoma for burial.On Saturday December 11, the state prison board convened to open an official investigation into the suicide. Idaho Attorney General J. W. Taylor said the suicide was either colossal stupidity or collusion on the part of the warden and state prison officials. Governor Clark said: “Van Vlack is dead. I presume we should let him remain dead. The affair is closed as far as I’m concerned” (Boise Capital News). But after a week-long political battle with the prison board, Warden Gess was discharged for incompetence. Sheriff Prater was offered the position but declined for financial reasons. Gess was replaced in early February 1938 by Pearl C. Meredith, a real-estate developer from Buel, Idaho.Several visitors and museum staff believe they have felt the presence of Van Vlack from sudden drops in temperatures, hearing his voice call out, being touched by a ghostly hand or seeing his spirit manifest on the roof of cell block #4 and grounds alike.Please Join Us for Part III as we cover more of the Old Idaho State Penitentiary on Unsolved Mysteries of the World. See acast.com/privacy for privacy and opt-out information.

My love of letterpress printing is no secret, and in this episode, I speak to two designers who devote parts of their working lives to modern letterpress. This episode was taped live at Ada's Technical Books and Café in Seattle on January 23. Printing didn't change much from about 1450 to 1950. It became faster, motorized, and blew up to industrial scale, but it was only when the “relief” (or letterpress) method of printing—putting ink on a surface and then pressing paper onto it—was replaced with offset lithography, which relies on flat printing plates and thin films of ink, that everything changed for good. Letterpress printing has remained as a craft, though, and it has thrived in the last 20 years as it's been rediscovered and taught fresh to new generations. Two Seattle practitioners have deep ties to this great resurgence of letterpress. We talk about how they got sucked into an old-school printing method and how the medium affects their design and vice-versa. Sarah Kulfan is a visual designer, illustrator, and letterpress printer. She is the proprietrix of Gallo Pinto Press and Beans n' Rice where she respectively prints limited edition prints and runs her freelance graphic design business. Demian Johnston is the Designer and Pressman at Annie's Art & Press, a letterpress shop in Ballard. At SVC, he teaches both introductory and advanced classes in the letterpress program. His design and illustration work has appeared in The Stranger, Seattle Weekly, City Arts, and Beer Advocate. Sponsors Thanks to the patrons in the crowdfunding campaign who brought the New Disruptors back, and these Disruptor-level backers in particular: Elliott Payne, my friends at Lumi, Kirk McElhearn, Kuang-Yu Liu, and Marc Schwieterman. (Marc, and another Disruptor backer, Kim Ahlberg, attended the taping!) You can become a patron of the show on a one-time or recurring basis, and get rewards like an exclusive enamel pin and being thanked in this fashion! Show notes: We talk about a lot of concepts and old tech in this show, so the notes are a little more extensive to help you understand some of the things we mentioned just in passing: SVC is the School of Visual Concepts in Seattle, where Jenny Wilkson runs the letterpress program. It's a for-profit analog and digital design school, teaching letterpress, UI/UX, graphic design, copywriting and more. It's where I had my 2017 design residency, too! Demian has a 10x15 Chandler and Price (C&P), which is a workhorse press, manufactured from 1884 to 1964. Stern & Faye: Jules Remedios Faye and Chris Stern ran this press together for decades. Jules continues to print and bind, and handbound my book, Not To Put Too Fine a Point on It (copies still available). The C.C. Stern Type Foundry, a working museum in Portland, Oregon, is named for Chris and features a lot of Jules and Chris's casting equipment. “dissed type”: Type distribution is an incredibly tedious part of hand setting type. Each character you pull out of a type case has to be “distributed” back into its original compartment in the case when you're done with a printing job. Ruling pens: These pens were used for making lines, or “rules,” and hold ink in a reservoir between two jaws. The gap of the jaws can be adjusted to create lines of different thickness. Plates: Printing plates are solid sheets of metal or plastic made from source material and intended to be printed as a full sheet, sometimes including dozens of pages. Starting in the 1800s, printers would cast metal plates (called “stereotypes”); in more recent decades, printers rely on a rubbery plastic called photopolymer that's light sensitive. Digital files can be output to high-contrast film and exposed to the plastic plastic, and make a letterpress-printable plate. Carl Montford: a local renowned wood block engraver, who has taught thousands of people how to carve linoleum blocks and hundreds how to carve in wood. Linoleum blocks: These are really just pieces of linoleum glued to a wood base. A designer carves the linoleum to leave high areas to receive ink. Type high: The exact height needed for type and other material on the “bed” of a press to be inked by rollers and press exactly at the right distance into paper. It's 0.918 inches in America and England. Touche plate: This may have been a regionalism, but a “touche” (French, pronounced toosh) is a touch-up plate used to fix an error in offset printing. Reduction cut: On a block, you engrave a starting image that prints in the lightest color, carve away details, print the next-lightest color, and so forth. The block is creatively destroyed in the process. A “kiss” impression Vandercook cylinder presses are the hot thing in letterpress today, originally designed largely as a “proof press”: to pull a copy of a section of text for proofreading, layout, and evenness, before it went on a real press. Printing the Oxford English Dictionary (YouTube) “Farewell, Etaoin Shrdlu”: The last day of hot-metal Linotype typesetting at the New York Times The quote I was trying to recall was from A Short History of the Printed Word, written by Warren Chappell and, in a second edition, updated and extended by Robert Bringhurst. Bringhurst wrote the following devastating sentence about the entire era following relief printing: In the 1970s and 1980s, the practitioners of photocomposition and offset printing were, like Gutenberg, engaged in a simultaneously innovative and imitative act. But they were not imitating writing; they were imitating printing—and were doing so in a world where reading had become, for most, a passive, cerebral act, unconnected with any physical sense of the making of letters, and unconnected with any sense of the intellectual urgency of publishing.

Week 2 of "No Small Talk" takes on: CAMA and The Post. Jacob, Stephanie, and Omaya welcome in Ark Times staff writer David Koon to talk about the latest Spielberg film and a love of Linotype. As always, we've got recommendations for great stuff to do in Central Arkansas this weekend.

Series: Biblio File in France Better known for its wines, the perfection of its local spoken French, it's cathedral and chateau, the city of Tours France also has a surprisingly rich historical connection with printing and typography. I was in Tours recently and visited the Musee de la Typographie. It may be small, but it's full of all sorts of different kinds of old printing equipment and tools, typefaces, woodcuts and handmade paper. As one visitor put it: "Muriel Méchin, the owner takes you on a personal discovery tour of his museum, including printing off some examples for you to take home on a press from the 1800s. I have been to many printing museums, but this is the first I have found that contains compositors tools such as the Moule à Arçon, a hand-held individual character casting device, that was the forerunner of the mechanical Monotype and Linotype machines hundreds of years later. You can actually handle many of the exhibits which most museums forbid. Muriel has published a very informative book which we were able to purchase; it is chock full of historical information and illustrated with photos and drawings explaining the history of a most interesting industry that goes back many hundreds of years. The museum is free." Since Muriel doesn't speak English, I sat down with his colleague Jean Louis Maitre to talk about the museum and the fascinating printing history of the local region. If you like English spoken with a thick French accent, you'll love listening to Jean Louis. 

这是一期特别节目：同一物理空间中的两位主播，在某个日常的夜晚，就地取材，围绕字体排印展开了没有主题的闲聊。 四十分钟，一份杂志，数页样章，几则旧闻，半部通史，以飨听众。 参考链接 《艺术界》（LEAP），关注中国当代艺术的中、法双语杂志，由杨林青设计 Adelle，José Scaglione 及 Veronika Burian 设计，Type Together 出品 Archer， Tobias Frere-Jones 及 Jonathan Hoefler 设计，Hoefler & Co. 出品 Text figures Small caps（小型大写） CSS 的 text-decoration-skip 特性；赋值为「ink」时，可令下划线避让字符着墨的部分 CSS 的 hyphens 特性 Medium 设计师 Marcin Wichary 曾撰文介绍，Medium 如何在网页上打磨字符下划线样式 Medium 曾因自定义键盘快捷键，导致波兰文中的「Ś」字符难以输入 Medium 曾因在字体 fallback 列表的开头加入了「system」字体，触发了 Windows 平台上的一些意外情况 錢穆．《國史大綱》（上下册）．香港：商務印書館，2013 年 双行夹注，古籍中注解排版的一种常用方式 标点排版的「开明式」「推出 / 推入」等规则，可结合 Adobe InDesign 进行实践 Monotype system（Monotype 铸排系统） Linotype machine（Linotype 铸排机） Linotype: The Film，Douglas Wilson 等人执导并拍摄的纪录片 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

Lecture 522 (7 June 2010). Full title "The Heavyweight Bout: Linotype vs Monotype. The Two Dominant Technologies of Hot-Metal Typesetting Square Off"

Gottfried Pott is a German typographer, calligrapher, author and teacher. He studied graphic design at the Werkkunstschule in Wiesbaden, under Professor Friedrich Poppl. With an emphasis on lettering art, he also studied painting and music. From 1988 to 2003 he was a professor in calligraphy, design and history of lettering at the University of Hildesheim, Germany. In this interview with Gottfried Pott we talk about his passion for teaching and calligraphy. And how he’s inspired by other subjects of interest, like his love for music and interest in art, politics and literature. He explains how all these subjects are related to each other. We wonder if his handwriting has changed over the years. And if he for instance can see what kind of personality someone has, just by looking at a piece of calligraphy or handwriting. But of course this is top secret! Recorded at the Klingspor Museum Symposium – on the occasion of their 60th birthday – in Offenbach Germany. Gottfried Pott at Linotype :: Pottpourri lettering demonstration :: Klingspor Calligraphy Workshop :: Karl Georg Hoefer :: File Download (27:29 min / 38 MB)

Jovica Veljović, born in Serbia in 1954, has been designing typefaces for URW, ITC, Adobe and Linotype since 1980. He received his master’s degree in calligraphy and lettering at the Art Academy in Belgrade, where he also taught Typography until 1992. Since 1992 he lives in Germany and has been a Professor in Type Design and Typography at Hamburg University. Jovica Veljović talks about how he got interested in typography and type design by encountering a marvelous book about alphabets by Hermann Zapf. He also refers to his first awareness of letterforms as a small kid looking at the beautiful handwriting of his grandfather, who was always showing him his special letter ‘k’. We wonder how Jovica started working for ITC were he met Herb Lubalin, just two weeks before his death. Looking back Jovica is aware that he had the chance to meet the right people. People who really cared about what they’re doing. And this mentality or way of living is exactly what he would like to pass on to the younger generation. Recorded at the Klingspor Museum Symposium – on the occasion of their 60th birthday – in Offenbach Germany. Linotype interview :: Veljović on his Agmena typeface :: Hamburg HAW :: File Download (20:41 min / 28 MB)

Dan Reynolds is a type designer and typographic researcher. Born in Baltimore, he studied graphic design at the Rhode Island School of Design, visual communication at the HfG Offenbach, and typeface design at the University of Reading (UK). After several years with the marketing and font development teams at Linotype GmbH, he founded his own design practice in Berlin, Germany. We talk with Dan about his first typographic memory. What got him interested in design and typography and how he ended up living in Germany. Although Dan comes from a family of academics, he prefers a more esthetic approach of type design. He would rather doodle letterforms and then worry about how they’re going to be used. Because Dan – while studying, teaching and working at a typefoundry as well as a freelance type designer and researcher – has seen almost every single aspect of the profession we wonder how all that knowledge on these different fields come together in his daily practice. Recorded at the Klingspor Museum Symposium – on the occasion of their 60th birthday – in Offenbach Germany. Type Off blog :: Dan at Linotype :: Christian Schwartz Deutsche Bahn :: Dan on Rudolph Koch :: Typostammtisch Offenbach :: File Download (21:59 min / 30 MB)

David Berlow entered the type industry in 1978 as a designer for the respected Mergenthaler, Linotype, Stempel, and Haas type foundries. He joined the newly formed digital type supplier Bitstream in 1982 and in 1989 founded The Font Bureau, with Roger Black. David gives us an insight in his working methods. How does he start making a new typeface? Mostly it’s listening from his part and figuring out what it is people are actually saying. We also talk about things he learned along the way, like being a good manager. We wonder how often he rejects new proposals or submissions for typefaces? And his vision on coming trends in type design. Recorded at the ATypI 2010 conference in Dublin, Ireland. The Font Bureau :: Web Type :: Ready Media :: Fonts in Use :: David Berlow WWWord interview :: David Berlow twitter :: File Download (38:21 min / 53 MB)

Phoenix Revisited: Musing from a News Librarian Richard Geiger, retired Library and Research Director at The San Francisco Chronicle, SLA Fellow, and winner of the SLA John Cotton Dana Award, will regale you with tales of his three decades as a newspaper librarian at The San Francisco Chronicle and the San Jose Mercury–News. And yes, many of the old–time journalists did keep a fifth of booze in their bottom drawer. Geiger has seen newsroom technology move from typewriters and Linotype machines to personal computers, websites, blogs, databases and video. He supervised the transition of newspaper libraries from clipping files, print photographs and negatives to online text and digital image archives. Geiger will discuss the current state of the news media and its impact on news libraries.

How Critzler started designing fonts, hooking up with Die Gestalten publishers and the Localizer book and font. Critzler’s early fonts for Linotype :: Localizer book :: Localizer font :: File Download (9:02 min / 10.4 MB)