On March 20th about 100 people turned out to hear Bruce Kennett talk about W. A. Dwiggins, book designer, type designer, calligrapher, and master of marionettes, and Kennett’s recently published biography entitled W. A. Dwiggins: A Life in Design. The Alcuin Society was a co-sponsor of the event along with The Typographic Hub at Sheridan College, the Association of Registered Graphic Designers, Canada Type, and Letterform Archive, the book’s publisher. Continue Reading…
The works of Robert R. Reid, stalwart Alcuin Society member and collaborator, and occasional blogger in this space, are featured in a wonderful exhibition at the Robertson Davies Library at Massey College, the University of Toronto. I took a moment the other day to pop in to see the exhibition in person. The exhibit is the last stop in a three part traveling show curated by the Curatorial Research Project of CAUSA (Collective for Advanced & Unified Studies in the Visual Arts). Previous locations were Simon Fraser University Library and McGill University Library.
The Alcuin Society of Canada is joining with the Sheridan Typographic Hub and the Type Directors Club and the Registered Graphic Designers to sponsor a talk by Paul Shaw — On digital revivals of historical typefaces and other letterforms.
Wednesday, March 29, 2017
6:00 – 9:00 pm
At The Arts & Letters Club
14 Elm Street, Toronto
I visited Stratford, Ontario a few weeks back to take in a new adaptation of the Henriad called The Breath of Kings being presented at the Festival. In between plays, I chanced by Gerard Brender à Brandis’ studio located in his beautifully restored Greek Revival Saltbox cottage near the town’s main street.
The Alcuin Society held its 2016 Annual General Meeting on June 6 at the University Golf Club on the UBC campus in Vancouver. The event was well attended. Beautiful Alcuin Prize winning books were on display. There was also a silent book auction that attracted many members to bid and raised money for the Alcuin endowment. Continue Reading…
The film goes by at a deliberate pace, like the venerable craft practised by Jan and Crispin Elsted. Which is interesting because the filmmaker Sarah Race is so young. Sarah was a one-person film crew and the Elsteds said in the Q&A after the screening that she’d taken the time to blend into press activities so that they forgot she was there. And it shows: we are intimately close to Crispin as he gathers a sequence of type between his fingers, and to Jan when she adjusts the press with a huge wrench. The abiding images for me are the closeups of the lovely, capable hands of these two craftspeople as they lovingly perform their work. Sarah’s trailer generously offers some of the most memorable moments from the film. Continue Reading…
There are so many things we take for granted: birds and sunrises, health and friends, planet Earth and internet, etc. Enjoying a book at our leisure is a no-brainer for most of us, but there are those who go through great pains and frustrations to read a short paragraph. It is reassuring to see that society has not forgotten them completely (or maybe it was just those who struggle with this disorder, or are close to somebody who does). A series of typefaces was created in order to help those who have trouble reading. One of those is Dyslexie, which may look like a nightmare for most type designers, but this matters less if it can help even one person.
The glyphs of Dyslexie look deformed to our eyes: they are heavier at the bottom, as if in an attempt to anchor them on the page. It tries to eliminate some of the features that confuse dyslexics, such as the similarity and uniformity between letters, so letters like b and d are not mirrored images of each other. On the contrary, the bowls of the letters, and their ascenders and descenders are all distorted. They have different heights and proportions, and they stand slightly further apart, so they do not look so compact any more.
Dyslexie is a free font and was developed by Dutch designer Christian Boer. The comparison between it and a regular font shown on the Dyslexie main page is very interesting. Paradoxically, it also contradicts the basic rules of type design.
We’ve received word from SFU of an upcoming lecture that will surely be of interest to print historians and bibliophiles alike! Jonathan Bengtson will be giving a presentation at SFU Burnaby campus on the the Printing Room at St. Michael’s College. Here is a PDF advertising the event, and below are all the details you need to know. To whet your appetite, I highly recommend that you download the background reading material from archive.org:
The Printing Room: The John M. Kelley Library. University of Toronto: 2009
Please RSVP for the event as requested below. We hope to see you there!
Friday, October 26, 2012
4:30pm to 6:00pm
Room 2020 – Thesis Defence Room
W.A.C. Bennett Library
Simon Fraser University
8888 University Drive
Jonathan Bengtson has served as University Librarian at the University of Victoria since January 2012. Prior to his appointment at Victoria, he served as director of library and archives at the University of St. Michael’s College at the University of Toronto, as well as the library director for the Pontifical Institute of Medieval Studies (PIMS), one of the most important libraries for medievalists in North America.
He trained as a medievalist at Oxford and has been director of academic and special libraries in Canada, the United States and the United Kingdom. Before arriving at the University of Toronto in 2004, Bengtson was head librarian of The Queen’s College, Oxford, and, afterwards, the executive director of the Providence Athenaeum in Providence, Rhode Island.
While at St. Michael’s, Bengtson played a key role in the establishment of the St. Michael’s Print Room. The Room features five hand-presses, including the 1895 Reliance press that is in the foyer of the library; it has binding equipment; an extensive collection of type, including ornaments from the Toronto firm of Cooper and Beatty, woodcuts and wood type; and pedagogical material, including unusual books as well as documents in Braille. The Room has played a critical role in supporting the teaching of book history and material bibliography. Bengtson’s lecture will speak to issues related to the creation of the Print Room and its impact on teaching and learning.
Refreshments following lecture.
Free Admission – limited seating – please reserve a seat by calling 778.782.6704 or emailing library at sfu.ca
For further information contact:
Chuck Eckman, Dean, Library Services
Last night at the Alcuin Awards in Toronto, it was formally announced that William Rueter, RCA MGDC, fine press printer and founder of the Aliquando Press will be the 2013 recipient of the Robert R. Reid Award for Achievement in the Book Arts in Canada.
William Rueter RCA MGDC is a private printer, hand binder, and printmaker living in Dundas, Ontario. He studied at the City Literary Institute, London, England, and the Ontario College of Art. From 1965 to 1998 he worked as a graphic designer specializing in book design, including employment as Senior Designer at the University of Toronto Press.
He established his private press, The Aliquando Press, in 1963, producing more than 100 books and many broadsides to date. The Press reflects Rueter’s interests in graphic design, typography, calligraphy, music, and a wide variety of poetry and literature. Work of The Aliquando Press won an honorary diploma at the Schönste Bücher aus aller Welt exhibition in Leipzig in 1987 and a bronze medal at the Internationale Buchkunstausstellung 1989.
Work of the Press has been shown throughout North America and in Japan and is included in public and private North American and European collections, including the Toronto, New York, and San Francisco public libraries; the College of William and Mary, Williamsburg; the British Library; and the Museum van het Boek, the Hague.
Rueter has taught graphic design and bookbinding in Canada and graphic design in Barbados and the Philippines. He explores the media of wood engraving and linocut in some of his own books and is challenged by the technique of monoprint. As a printmaker, bookbinder, and graphic designer he has been in solo and group shows in Dundas, Hamilton, and Toronto. He is a member of the Royal Canadian Academy of Art and is a past nominee for the Saidye Bronfman Award for Excellence in the Crafts.
Congratulations, William! The award will be presented in the spring of 2013 in Vancouver, BC.