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Paul Shaw Letter Design » Blue Pencil

More about Sarah and Enoch. David Shields, Assistant Professor in the Design Division at the University of Texas at Austin and curator of the Rob Roy Kelly American Wood Type Collection, has pointed out that no. 21 in Nicolete Gray’s Chart of Ornamented Typefaces 1800–1900 (in her Nineteenth Century Ornamented Typefaces, rev. ed. 1976) may be the model for the Sarah and Enoch gravestone

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Paul Shaw Letter Design » Blue Pencil

Blue Pencil no. 42—Revival Type. Revival Type: Digital Typefaces Inspired by the Past by Paul Shaw with Abby Goldstein (New Haven: Yale University Press and London: Thames & Hudson, 2017). Design by Abby Goldstein. I am not immune from the Blue Pencil treatment. Like every author, I have made mistakes despite my diligence. I am embarrassed by

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Paul Shaw Letter Design » Blue Pencil

Blue Pencil is a “slog”: a slow blog. It does not get updated daily or even on a regular schedule. Instead, it gets updated when there is something of value to be posted. Postings often take a long time to prepare and appear at intervals of a few weeks or even months.

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Paul Shaw Letter Design » Blue Pencil

Blue Pencil no. 2—Graphic Design: A New History. This is the second Blue Pencil installment. After Mary Ann Bolger wrote a fairly favorable review of Graphic Design: A New History in Eye no. 66 (vol. 17, Autumn 2007), I wrote a letter to the magazine pointing out that it is “riddled with errors”, most of them relating to typefaces and

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Paul Shaw Letter Design » Blue Pencil

A video of Michael Harvey. Stan Knight just told me about a video made a few years ago of Michael Harvey reminiscing about his life. It can be found at the Edward Johnston Foundation website. He is sitting in his compact studio—a photograph of Luminous Boy, the black and white cat he and Pat had in the 1980s is visible in the background—quietly talking about Reynolds Stone, Eric Gill, book

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Paul Shaw Letter Design » Blue Pencil

Blue Pencil no. 11 addendum. R. Roger Remington and Robert S.R. Fripp, the authors of Design and Science: The Life and Work of Will Burtin, expend a lot of effort to prove that Will Burtin was responsible for the popularity of Helvetica in the United States. In Blue Pencil no. 11 I challenged the evidence they presented in support of this claim.

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Paul Shaw Letter Design » Blue Pencil no. 1—Font. The

Nov 30, 2008· Blue Pencil no. 1—Font.The Sourcebook. This is a slow blog. I have lots of material I hope to post but not enough time to properly prepare it. Thus, I expect my posts to be sporadic which will make Blue Pencil part of the nascent trend toward slow blogging.

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Blue Pencil: Blue Pencil no. 1 Blogger

Nov 30, 2008· Since they are unwilling to take on these essential tasks, Blue Pencil will do it for them— post facto. I have a backlog of material waiting to be posted, but will start the first Blue Pencil with a book I purchased during a recent trip to Lexington, Kentucky. It is a book that should never have been published in its present incarnation.

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Blue Pencil: Blue Pencil no. 10—The Story of Graphic Design

Aug 31, 2010· Blue Pencil no. 10—The Story of Graphic Design the father of record cover design nor Reid Miles of Blue Note fame. Among those slighted (before 1977) are David Stone Martin, Jim Flora, Rudolph de Harak, Paul Bacon, Robert Crumb, Heinz Edelman, Klaus Voormann, Mouse & Kelly, S. Neil Fujita, Phil Hays, Paul Davis, Marvin Israel, John Berg

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Blue Pencil: Blue Pencil no. 11—Design and Science: The

Jan 17, 2011· [There is no general discussion of design in Germany in the 1920s and 1930s other than a passing reference to the Bauhaus on p. 18. (Graphic Design in Germany 1890–1945 by Jeremy Aynsley (London: Thames & Hudson, 2000) is absent from the bibliography.)Burtin was born in Cologne and worked there but there is no mention of the state of graphic design in that city during his

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Blue Pencil: Blue Pencil Comments no. 2—Marian Bantjes

Also see examples of curvaceous designs in metal, stained glass, wood, tile and stone from the house on pp. 41, 84–86, 92–94, 102–103, 112, 114, 121, 122, 124; and p. 38 for the Hôtel Tassel.) This particular detail shows curves that abruptly change direction as well as

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Blue Pencil: Gravestone typography

Sep 10, 2009· The earliest stone I was able to locate was from 1798 and it was in poor condition. But what caught my eye were stones that were laid out and carved typographically. That is, they looked very much like the broadsides and ephemera of their time which

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Blue Pencil: 2010 Blogger

The goal of Blue Pencil is not to indicate whether or not a book in question is good or bad overall—though the number of errors in it is certainly a strong factor in such an assessment. The graphic design history books that have been put under the Blue Pencil microscope are all worth owning in various degrees.

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Blue Pencil: September 2009

Sep 19, 2009· The paean to Wilhelm-Klingspor-Schrift was occasioned by seeing this bookjacket for A History of Modexn Gexmany: The Reformation by Hajo Holborn (New York: Alfred A. Knopf, 1959) a few weeks ago. I was immediately struck by its spelling. In the calligraphic portion of the title Guy Fleming, the book and jacket designer, had ignorantly substituted x for r in both Modern and Germany.

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Paul Shaw The MIT Press

Paul Shaw, an award-winning graphic designer, typographer, and calligrapher in New York City, teaches at Parsons School of Design and the School of Visual Arts. The designer or codesigner of eighteen typefaces, he is the coauthor of Blackletter: Type and National Identity and the author of Helvetica and the New York City Subway System (MIT Press). He writes about letter design in the blog Blue

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The Eternal Letter edited by Paul Shaw

Paul Shaw, an award-winning graphic designer, typographer, and calligrapher in New York City, teaches at Parsons School of Design and the School of VisuaI Arts. The designer or co-designer of eighteen typefaces, he is the co-author of Blackletter: Type and National Identity and the author of Helvetica and the New York City Subway System (MIT

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The Eternal Letter (豆瓣)

The Eternal Letter is a lavishly illustrated examination of the enduring influence of, and many variations on, the classical Roman capital letter. The Eternal Letter offers a series of essays by some of the most highly regarded practitioners in the fields of typography, lettering, and stone carving.

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The Eternal Letter Paul Shaw Bok (9780262029018) Bokus

Paul Shaw, an award-winning graphic designer, typographer, and calligrapher in New York City, teaches at Parsons School of Design and the School of Visual Arts. The designer or codesigner of eighteen typefaces, he is the coauthor of Blackletter: Type and National Identity and the author of Helvetica and the New York City Subway System (MIT Press).

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Palatino Wikipedia

Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.. Named after the 16th-century Italian master of calligraphy Giambattista Palatino, Palatino is based on the humanist types of the Italian Renaissance, which mirror the letters formed by a

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The Eternal Letter: Two Millennia of the Classical Roman

Mar 13, 2015· The Eternal Letter is a lavishly illustrated examination of the enduring influence of, and many variations on, the classical Roman capital letter. The Eternal Letter offers a series of essays by some of the most highly regarded practitioners in the fields of typography, lettering, and stone carving.

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