William addison dwiggins fonts for mac
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William Addison Dwiggins
Martinsville, Ohio-born illustrator, calligrapher, typographer, book designer, author, type designer and puppeteer, (Hingham, MA). Pic (). All his typefaces were designed for the Mergenthaler Linotype Company, where he worked for 27 years. He also was Acting Director of the Harvard University Press, In , he founded the Society of Calligraphers, Boston, and was in fact an accomplished calligrapher, who drew many ornaments and designed many jackets. Dwiggins studied lettering under Goudy in Chicago while a student at Frank Holme's School of Illustration. When Goudy moved to Hingham, Dwiggins followed and was to work there for the rest of his life. As a puppeteer, he often used the pseudonym Dr. Hermann Puterschein. His papers:
- Some why's and wherefore's of the shapes of roman letters (), a short essay full of quotes, some good, but mostly derogatory, regarding the main text types in vogue at the time, such as Century, Caslon, Cheltenham, Pabst, Cadm
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William Addison Dwiggins
American type designer, calligrapher, and book designer (–)
William Addison Dwiggins | |
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Portrait by David Trip | |
| Born | ()June 19, Martinsville, Ohio |
| Died | December 25, () (aged&#;76) Hingham Center, Massachusetts |
| Other&#;names | W.A. Dwiggins W.A.D. “Dr. Hermann Püterschein” |
| Occupation(s) | Type designer, calligrapher, book designer |
| Spouse | Mabel Hoyle Dwiggins |
William Addison Dwiggins (June 19, &#; December 25, ), was an American type designer, calligrapher, and book designer. He attained prominence as an illustrator and commercial artist, and he brought to the designing of type and books some of the boldness that he displayed in his advertising work.[1][2][3] His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, using Oriental influences and breaking from the more antiquarian styles of his colleagues and mentors Updike, Cleland and
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Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed bygd the American book and type designer William Addison Dwiggins. Dwiggins contemplated Charter as the italic companion to Arcadia, Experimental No. The Charter project progressed sporadic, stalled during the Second World War, and came to a halt in Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals visible similarities shared bygd Dwiggins’ Charter and defines the design approach for the family. The steep calligr