William addison dwiggins designs by sick
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William Addison Dwiggins coined the term in 1922 to describe his work in book design, illustration, typography and calligraphy, although the term did not achieve widespread usage until after WWII.
William Addison Dwiggins (June 19, 1880 Martinsville, Ohio – December 25, 1956 Hingham, Massachusetts ) was a U.S. 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.
His typefaces—Electra and Caledonia are most widely used—were specifically designed for Linotype composition and have the clean spareness of the motor age. Metro is most notable as his most modern sans serif typeface. Metro was developed by Linotype in the late 1920s in response to similar type being sold from European foundries such as Futura, Gill Sans, and Erbar.
His scathing attack on contemporary book designers in An Investigation into the Physical Properties of Books (1919) led to his working with the publisher Alfred A. Knopf. A series of finely conceived and executed trade books followed and did much to increase public interest in book format. Dwiggins was perhaps more responsible than any other designer for the marked improvement in
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Stencilled ornaments & illustration: a demonstration adequate William Addison Dwiggins' format of game park decoration distinguished other uses of rendering stencil, board with a note encourage the principal, compiled beam arranged via Dorothy Abbe.
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Collinge & ClarkCombined Kingdom
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Bruce Kennett Studio
To call W. A. Dwiggins a consummate American type designer, calligrapher, book designer, and illustrator is just to get started. Gifted with a superb literary sensibility and a flair for the dramatic, he wrote plays, stories, and crafted marionettes in a theater of his own devising. His work is on display at the Boston Public Library, but more to the point is that Bruce Kennett has brought Dwiggins to life in this impeccably written and designed biography. And by design I mean the book is in every respect Kennett’s creation. Plenty of biographers write books, very few illustrate them, and none so far as I know create the physical product. This book may well be unique in the history of biography.
Kennett does what is expected of a biographer — in this case bringing his subject to life through his letters, his work, the testimony of his friends and family and fellow designers. To read about Dwiggins is to discover the fascinating history of book design at the highest level, including Dwiggins’s decades-long association with Alfred A. Knopf. Then, too, Kennett explores Dwiggins’s fascination with the machinery of printing and illustrating,