 Welcome, everybody. The black and white Smith was actually a coinage of Dwegen's own. He called himself that when he was asked to write a bio in the early 1920s. And I think it's a wonderful encapsulation of his career. It's actually a wonderful way to describe graphic design generally. He was born in 1880, died in 1956. The year I was born, died on Christmas Day, 1956. I first discovered him when I moved to Boston. And in 1978, I was teaching at the Boston Museum School. I took over from a man named Ed Carr, who's standing next to Dwegen's in the left-hand photo. Ed was a calligrapher and designer in Boston, president of the Society of Printers for a number of years, and a good friend of Dwegen's and follower and mentee of Dwegen's. So I got to know, initially through Ed, I eventually acquired all of the Dwegen's material from Ed's collection. And that was kind of the core, the beginning of this. When I was in Boston in the 70s and 80s, there were a lot of people still there who knew him when he was alive. And if you knew him and saw him occasionally, you always had pieces of his work. You always found pieces of his work in local publications and just around Boston. And people knew that he was special. If they had something, they didn't let it go. So it was an ideal time to begin collecting Dwegen's. He came out of school at about age 20, 1900. And what's interesting here is that you can see the threads of work. There's sort of nine different vocations and abocations that he was involved with. And you could define this in different ways. There's overlap and flow between them, obviously. But I just tried to take a stab at it. I think what's interesting is that the lettering and calligraphy piece was throughout his life. Full steam ahead. He never stopped or started that. And also illustration. But the other things faded or came in. And in particular, in the late 20s, he kind of became disillusioned with advertising and commercial design and started to do less of it. And the book design, modular ornament type design and marionettes are all near the end of his life, and actually were not, as you can see, for that long of a period. So I'm going to go through each thread. These are quick overview slides of each summarizing the nature of the work. So lettering and calligraphy, illustration. If anyone knows what the one on the bottom right is or was for, please tell me. I've never figured it out. Book plate. Book plate. Well. It shows the press for a coat of arms. Yeah, that's interesting. It seems like maybe he's just using that decorative element in another way. Well, I mean, it roughly translates as nothing. So I mean, it's actually the first of many examples of Dwingan's humor. Advertising and editorial design, he did layouts and cover designs for the Atlantic, for House Beautiful. And of course, you all probably know layout and advertising. There's a copy of it back in the cases. Classic text, still a wonderful read. And surprisingly, really not very dated. It's he dealt mostly in timeless principles, I would say. Some of the work and illustrations are dated. But I wouldn't say the text is. He was a wonderful author and wordsmith. He was the one that created the term graphic design. And also, this is the first instance of Hermann Pewtershine, which was his alter ego. One of many ways that he wrote and expressed his humor. He was a private press publisher. He started very young in the early part of the century. He had the white elephant and the fabulous. And at the end of his life, he had Pewtershine Hingham, which was a partnership with Dorothy Abbey. Book design, hundreds of books. I don't even know if anyone knows an exact count. Both trade books and limited editions, special illustrated editions, that sort of thing. You can see his shelf specs were a particular strength. And he actually, he did jackets, but he didn't particularly like doing jackets. And many of the books that he did for Knopp, he did elaborate binding and shelf back designs and then let somebody else do the jacket. Because in those days, the jacket was considered to be ephemeral. So there are examples of jackets by Salter, jackets by Lustig, and underneath, a Dwingen shelf back. Modular ornament. This, I think, is just an example of the great genius of Dwingens. It's something that I think he really kind of originated a concept and it's remarkably fresh. I'm surprised, in fact, that people aren't kind of exploring this territory now. Type design started quite late in his life. These were the three major issued faces, but there were also many experimentals that were never issued. And finally, Marionettes, which was a hobby. Although, when you have a hobby and Abrams produces a 200-page art monograph about that hobby, I think you can say it was done to a professional standard. Here's a photograph of him working in lettering. And this shows the lettering technique versus calligraphy technique. So as opposed to sort of a freely stroked broad-edged letters, I think the technique is pretty clear. And actually, the use of the ruler and the loop, this is kind of standard practice. And we live in an age where computer type can do almost anything. Headlines and body text are different uses and created in different ways, but now it all kind of flows together in some sense. In the early 20th century, headlines, advertising copy, these kinds of things were almost always hand-lettered. Dwaygan's was one of many journeyman letterers. And this is the technique. All right, so let's dig in a little bit to the lettering and calligraphy. This starts at the very beginning of the century. In fact, the one on the left, anybody know what the DG monogram means? Dwaygan's Goudy. This is from his days in Chicago. And it was a collaboration with Goudy. As near as we can figure, Goudy did the monogram. And Dwaygan's did the rest. But that is conjecture. The thing on the right is a very early address label, or I guess it's an address label. Some of his address labels don't have a street address, because in Hingham they knew him. If it said Dwaygan's Hingham Mass, it got there. This is from around 1906. This was produced for a publisher in Boston named Alfred Bartlett. And it's entirely hand-lettered. It's one of numerous examples of books and pamphlets that are 100% hand-lettered. Here is from the inside. And you can see that the lettering is very much an imitation of type in this case. Most of Dwaygan's lettering was more what we would say typographic than calligraphic. He could do anything. And you'll see examples of both. But he was very fond of doing this sort of typographic lettering. This is from 1909. And another work that's entirely hand-lettered. And in fact, each page has a different quotation and a different alphabet. So here's an italic. And here are four of the others in close-up from that book. I think there's eight or 10. Everyone is a different alphabet. And you can see some of these are really pretty straightforward calligraphic hands. The upper left is kind of a foundational, pretty simple direct broad pen. Others are more typographic. Pretty nice black letter, one of the nicest American black letters from that era, I would say. Again, he could do anything. This is a very early Christmas card. Prior to 1910, don't know the exact date. The colored initials are applied by pochoir, which basically means stencil. So they were cut in stencil. And then the color was applied through the stencil. The illustration and lettering was made into a line block and printed by letterpress. This is another early Christmas card, entirely pochoir. And this is another little piece from about the same time that why is pochoir the black text is a line block. And this is a full-on Johnstonian foundational, if you ask me. It's a direct broad pen, I think, and beautifully done. Moving forward a bit, this is early teens, I'd say maybe 13, 14, a cover for magazine, self-explanatory, all hand-lettered. This is from around 1917, 1918, cover of direct advertising. Here is one of his most famous pieces. So let's talk about the Society of Calligraphers a little bit. In the early 1920s, Dwiggins decided that there ought to be some kind of organization for calligraphers. And there wasn't in the US. So he made one up. He called it the Society for Calligraphers. He did a nice certificate. He did a sort of a mailing piece with honorary members listed. And you'll see a little further on. It's an illustrious list. Never talked to anybody else about doing this. It was made up out of whole cloth and completely his. He distributed the pieces. And in particular, this one was exactly what it says. And the chart, I think, pretty much summarizes the findings. Well, first of all, I want to say that chart is an amazing piece of work. I mean, it's hard enough to do one without being broken. But to actually make it look like that is just a remarkable piece of work. One of the things in this piece, I don't think I have it, but he has mock interviews with people in book production. And he basically just rips the whole industry. The irony is that at the time, he was doing mainly advertising work, but wanted to be doing more book work. Talk about shooting yourself in the foot, right? Why would you do this? Well, I guess he couldn't stop himself. In the end, it didn't really hurt. He ended up doing a lot of book work, but most of it was later. This is the fabulous from the mid-20s, early 20s, all hand-lettered again. Here are a couple of early letterheads, one from the home in Hingham, one from one of his studios in Boston. The piece on the left is for most likely Warren's paper. It's a piece of original lettering. I've never found a printed sample of it. The piece on the right was a direct mail piece, and it's printed. Another early 20s bit of lettering. This is a clipping from probably a graphic arts periodical, two full-page ads for Warren's paper, mid-20s. And now you really begin to see his kind of unique sense of letter form and layout coming to the fore. Some of the work in the teens is there's a lot of experimentation, and you can't always tell instantly it's Dwaygan's. This is Dwaygan's, and you would never mistake it for anyone else. This is fun. Another clipping from a magazine piece of hand lettering. And actually, when I spoke at Type-Con about Dwaygan's, there was something in the air about reverse contrast and experimental stress. And I noticed this O, and I thought it's a perfect example. It should not work. It's modern on the left and old style on the right. How can you put that together? But I mean, if I hadn't pointed out to you, it probably wouldn't even have noticed. Never seen one like it before or since, though. This is a piece of original lettering for a package, a wonderful infographic. Is it readable? I wonder, the humor in some of this stuff, presumably there were advertising people and copywriters involved in this, but this just feels like his copy. I don't know. He worked large. He worked typically. This is a printed example from Direct Advertising, just a beautiful infographic. This is about mid to late 20s. The meaning is perfectly clear. Back to the Society of Chalegraphers. This stuff is all from 1925. This is the envelope. So the display cases in the back of the auditorium, the one on the left is stuff from my collection. The one on the right is stuff from the library. And this is in the one on the left. This is the announcement of the founding of the Society of Chalegraphers. And if you read it, it says, so let's see. Candidates for honorary membership are to be proposed by the Board of Regents only. That was him alone. Honorary members may be elected in any regular business meeting by members present. He could do that any time. An honorary member shall enjoy all the privileges of membership, and in addition, may receive gratuitously the publications of the Society. And it is exempted from payment of an entrance fee and from all dues. Very nice. And the people on the list, I'm sure a lot of you folks recognize many of them, they're all pretty much bold-faced names. So more Society of Chalegraphers. This is an address label, 25. This whole suite of Society of Chalegraphers is 25. The address label is tiny. It's about, you know, yay big. And it's on kind of a polished paper. It's really pretty. And it's the green. I don't know who else would use that green in those days. And this is another thread that follows through his career. He had just an amazing color sense. And by mid-career and the end of his life, some of the color schemes are just wild. But somehow he makes them work. A check and a book plate. The check is in the case. This is an invoice form. It's printed on a Japanese tissue and perked and folded at the perf. So he would stick a carbon in, write the address above the line, the invoice below the line, tear it off and send it. All his invoices were handwritten. A couple of letters, one to William Kittridge, which is about the tales of Poe, printed by the Lakeside Press. One on the right is great fun. It's to Philip Hofer on the occasion of his engagement. Another piece of original lettering. Again, this is starting to be, this is very distinctive Dwingens, more sophisticated than the early stuff. And you're beginning to see the seeds of Caledonia here, I think, cover for a paper publication and tear sheet from a magazine. I think the layout of the one on the right is, I mean, it would look perfectly fine today. There's nothing dated about it. It's a very interesting construction. Piece of original lettering, probably for Warren's paper, might have been Strathmore. This next one is Strathmore, another piece of original lettering for Warren's. And this was the cover of a brochure. I've seen this piece at the BPL. I don't have the printed piece, but it's just kind of a standard size catalog with this medallion in the middle. The board for this is like this big. And there's almost no white out in this. So think about that. He's carving reverse lettering out of a black background. And there's almost no white out. The piece on the left is an original for a very similar brochure to the example on the right. The original is in the case. And this is, again, a very distinctive piece of Duggan's lettering. And you can see bits in some of the ideas of Caledonia, even some of the ideas of Electra here, I think. And again, and if you look at the original close up, almost no white out. These are two sketches for the cover of the Atlantic monthly. I think it's the one on the left that they ended up using. A couple of headlines for the Atlantic. This is an engraved stock certificate. So it's all hand-lettered, and it's printed by engraving. It's a beautiful piece of both lettering and engraving. This is an original for a business card. And I do have the original business card. It's kind of a standard business card size. The board is like this. And oh, there's an interesting revision here. If you look closely, all of the lowercase t's were once Ascender height. And so the white out there is basically, I don't like that. Let's knock them all down. They're still tall. Now he's really getting into book work. This is 1929 for Random House. The slipcase on the left is just an amazing piece of graphic design, the kind of three-dimensional relationship between these ribbons of type and the illustrations. And the title page is entirely hand-lettered and typical of another thing that he often did, which was to sort of mix styles and break lines in weird ways, and somehow you made it work. These are some of the illustrations. It has the feeling of a stipple technique. It's actually kind of cross-hatch. And of course, they're printed from line blocks. Jumping ahead, this is tails of Poe very much like a stipple illustration and with the beautiful script lettering under each plate. Towards a reform of the paper currency, this was another of his sort of, I mean, he really did this as a lark for himself, I suppose. But he convinced George Macy of the Limited Editions Club to publish it, except that it was the only book. It's unique in the Limited Editions Club run in two ways. One, it has a smaller limitation. And two, it's not a classic. Pretty much everything else in the Limited Editions Club range was public domain classics illustrated and designed and printed by wonderful people. So Macy said, well, OK, I'll send out a prospectus for this and we'll print exactly the number that we get orders for. So the limitation is like 300 and that's on the next spread. 408 copies. Or no, 400 of 452 and 1500 was the standard run. So almost a third of the people wanted it. Can you read the caption? Yeah. Moore and Dwingan's humor. Infuriated artists demolishing the Bureau of Engraving and Printing at Washington. Morning of the 6th of July, 1951. First phase of the Communist Revolution. This is a wonderful, so basically it's another polemic. It's like the one on book design. In this case, it's about the currency. And you don't really need the text to explain what's wrong here. Here is his example of how it might have been done. This is bound into the back of the book and it's an engraved banknote. And then here's a page of stamp designs that he proposed. This is another entirely hand-lettered piece. It's about 32 or 40 pages. A little booklet about Ye Beg. It was produced for the New England Telephone Company for new employees. This is one of the limited editions club books that he did. These are the spine labels of a set of five volumes, obviously. What I think is fascinating about these is every single one of them is lettered. They're not cloned. And you can tell because they're all different widths and they're all perfectly fitted there, too. I believe early to mid-30s. Yeah, no, I don't have it here. This is one of the gems of the collection. I still don't believe that I found this. This is a collection of six hand-painted sketches. So these are variant designs proposed for a label for the George Macy companies. I actually have slides of each one of them. So the pencil notations are in his hand. What we will probably never know is whether it's his own comments on the work or whether it was notes from a meeting with George Macy. So I don't know if it's client thoughts or his own. Don't like trick lettering. Don't like bleed. I actually quite like both the trick of writing and the bleed. Very quaint colors to pale for red paper. I don't know what the red paper is about because all the comps are on white paper and so is the final. And there's the final one. And I gotta say it's not, I don't know. I guess it's okay. I like some of the sketches way better. And then there's a letterhead for limited editions club. This is another piece for limited editions club, actually the Heritage Club division. This is mid-40s. And now you start to see the color scheme, the stencil illustration, the amazing lettering. No it isn't, it's printed from line blocks. This was in his home. It's in the BPL, it's about Yay Big. I just have a photograph of it. Beautiful piece of wood carving. This was printed in the Dolphin number two is a short-lived periodical done by George Macy on graphic arts. And this was an insert, the Dolphins about Yay Big, the insert is like so, bound in. It's on Japanese tissue. And entirely hand-lettered and it shows the seeds of the Winchester typeface, which is a kind of an unshel or bi-form concept. This is one of my favorite details in all of his work. He put a frame around the show through. Can you see it there? It's these two pages back up. So that sailor in the upper right is hinted at and framed on the Versa. Cover for print magazine. And the thing on the right, this puzzled me for years. Paul Shaw finally answered it for me. It was a trial, not a trial, a promotional printing for a book cloth manufacturer. It'll drive you crazy if you're trying to figure it out because the book doesn't exist, the author doesn't exist. It's all made up, but it was to sell book cloth. Here's the original and a printed sample of a header for a newsletter. This is from the late 40s, another entirely hand-lettered piece. It's about probably 40 pages. And again, this is actually a print from Putershine Hingham, 1949. And it's in the sort of Unchal-like Winchester. This was, I think, his last entirely hand-lettered piece, early 50s. And here's a letter to Ed Carr in 1952 after he'd had a stroke. And you can see a bit of the shake, but you can also still tell it's him. All right, let's talk about illustration a little bit. This is from Turn of the Century. And I think this is Oz Cooper. It would make sense because they were in school together in Chicago and it kind of looks like him. I'm not absolutely certain. If anyone has an opinion, please let me know, but it's a woodblock. And it's a very early, and as far as I know, unique form of his monogram. He ended up with the one you see a lot of, which is sort of a W run into the A. But this was a very early one. This was his first illustrated book. I think it's 1902. The cover is his work and it's very typical of the time. The illustration is stunningly futuristic, kind of on a left field. And it's an interesting mix, this thing. This is typical of a lot of the early book work he got. I think it's for Houghton Mufflin. He did the cover design, the title page design, but not the book design or the illustrations and the headers. So he was basically sort of an illustrator for hire in the book world, but not yet in charge of the projects. That's 1914 or so. This is also from the teens. Cover of a book for Harvard University Press. Really nice integration of lettering and ornament, I think. And very typically, Duygens. It was about 1921 or two. A woodcut from 1923 or 21. Petrushka, this is in the case. Noba Daddy by Archibald McLeish. This, I think he did design the whole thing. And so now he's starting to get that kind of work. And this was, so extracts from an investigation the polemic about book design was 1919. And for a few years, he didn't really get much book work. I wonder why. By the mid-20s, he was getting some pretty good commissions. And he started to be responsible for all parts of the book. This is a hand-lettered title page with a very typical Duygens ornament. And that's an initial from the same book. These are a couple spreads from layout and advertising. The candlestick thing is interesting. He's basically talking about modulation of space. And here's some, again, for advertising. So these are column ads for newspapers and such. Okay, now we're getting into the modular ornament. This is an early piece, about 1915, which, as far as I know, was not made in a modular way, but I think prefigures the idea. He might have wished he could have done so because you can see a lot of the elements are quite similar. This was his first real go at it. And this is from the mid-20s. It's in one of the Society of Collegraphers publications. His first attempt at modular illustration was done by cutting tiny wood blocks. Think like a rubber stamp, okay? So that illustration on the left is made up from the elements cut on the right. But now think about this. You can't see through wood. How are you going to do this? Well, it turns out it wasn't so easy. So then he figured out that if he cut stencils and acetate, he could see what he was doing. Now, this is fascinating to me because this is from 1917. I imagine it's Dwigan's fantasy of what the life of an illustrator should be like, right? An assistant to pump your airbrush and a monkey to hold your stencil. But so he's prefiguring the whole stencil and modular idea here, but this is 1917. This is a fascinating piece. The Christmas cards that I showed you that had Pochwar, he did experimented with stencils and Pochwar printing as early as the turn of the century. So that was already on the scene. But the modular idea combined with the stencil idea. And here is the, this is from Dorothy Abbey's book about the stencil work. He made special knives, he made all his own tools, or many of his own tools. The knives are sort of Japanese style knives. He would push them and then there's a stencil. And on the right, another stencil and the Pochwar brushes, the fat one apparently is a shaving brush that he cut down and adapted. And the other one is probably a kind of a standard stencil Pochwar brush. So here's how the modular thing works. The elements on the left are cut in acetate stencils. He then takes a piece of paper, lays down a stencil, charges that one and prints that form. And then he can pick it up and repeat it and move it or take another one or whatever. So the elements on the left create the design on the right. This is a foil stamped book cover. This is in the case, very typical sort of deco stencil illustration. That's the original lettering. This is an original, you know, reproduction art made from stencils. The piece itself has about 20 of these in the portfolio. They're all printed on different paper stocks. And each one has a unique ornament and each color is different as well to harmonize with the different paper colors. And here are some of the other ones from that portfolio. And you can break it down and figure out, you know, from a palette of probably 40 or 50 elements he made all of these. You can see the elements repeated here and there. This is an original for a, I think it's a blotter. The printed piece is about this big. The original is actually larger. It's out of scale in relation here. But this is a very typical stencil thing that he would do. So I don't know if you can see this. Actually, this has a pointer, doesn't it? Yeah, okay. So the stencil is like one strip this way. You can actually see a little bit of a darkening where it overlaps. Can you see it there? So the stencil has the black waves and the dots repeated across. And then he just, you know, does it again and again and again. Cover of paragraphs, this is not stenciled, but the book is heavily, this is one of the great stencil illustrated books. It's also his own text and it's kind of a fun read. So more of the stencil headers. This is from Tales of Poe, the suite of stencil elements in the upper left and a couple of examples of the illustrations made from them. This was for the Saturday review. This is really wacky to me. I mean, not only is it hilarious in and of itself, but think about this, the Saturday review was publishing essentially a sort of a typographic cartoon in 1927. But, you know, Dwygan's got all kinds of interesting work because he would just say, let me try it. And people would let him do it. This is the time machine, the title spread. These are all stencil built up. The preface is from the, a detail from the following spread. And then here are some more spreads from that book. The illustrations are in a sort of a stencil or porchoir style, but they're not modular. The headers and other elements are modular. So he used stencils both for modular ornament and illustration and just as a kind of a development and or printing technique. Wonderful color. And absolutely original color. This is from Droll Stories. There are, I don't know, 30 or 40 of these initials, each in a different color. This is a book plate. It's tiny. It's actually in the case. It's about, you know, a bag. Not his font, by the way, gouty text. This is Marco Polo, early 1930s. So these are the chapter or the book opening spreads with illustration and hand lettering and type. And then this is a kind of a typical spread with black and white illustration and text. Again, the wonderful sort of acid color scheme. One more spraying. This is one of my favorites. This is clearly developed with stencils, but not printed. It was printed from line blocks. So he used the stencils, I think, to work out the designs. This one on the title page is modular. The others are not, as far as I can tell. You can see maybe one or two elements are repeated, but for the most part, he was probably sketching the design, cutting stencils and experimenting with it until he was happy with the result, and then specifying the colors and handing it off to have line blocks made. And these are just wonderful illustrations. They're very, they're spare and, but somehow very emotive as well. And I don't know anyone else who ever illustrated in quite this style. It's a typographer's illustration, I would say, and it kind of ties into the title of the talk, being black and white Smith. I think you see Dwingan's understanding of black and white in all of his work, including the illustration, and the fact that he was a typographer and illustrator allowed him to do this integration of text and illustration in just a beautiful way. This is a sketch and a printed example of an exhibit notice and then a promotional blotter. These are from the 30, well actually the other one is 40s. The blotter is, I think, early 30s. Again, it's stencil influence, but not modular. You don't see repeated elements here. These are pieces of original art for shelf backs, and so they combine lettering and stencil ornament that was to be printed by foil stamp, like so. This is another great example of stencil ornament. This is actually a trial proof that came from Paul Bennett's files at Linotype, and you never see it in black and red. It was actually printed in these colors. This is from a book called The Power of Print and Men, which is published by Linotype in the 30s. Personally, I rather like the black and red, and the fact that a proof like this exists tends to make me think maybe Dwingan's wanted it that way. Here are some book covers that were created with stencil ornament, and then printed by line block, and some foil stamped ornament from modular stencils, and then four labels that are modular ornament. These are slip case labels, cover labels. Here's a repeating stencil. So you can see the stencil cut. It's a pretty interesting and complex piece of work. If you really look at it, that obviously took some thinking. More repeating stencils on book covers. The treasure in the forest is, I think late 30s, there's probably a date in here. The cover, which is on the left, is printed from a line block and it's modular ornament, and the headers are modular ornament, but the illustrations are just porchoir, not modular. And this is probably my favorite color of all of Dwingan's books. And in the stuff that was printed directly by porchoir, and there aren't very many examples, because one more spring, a lot of the other, the things that I've shown you so far were developed perhaps with stencils, but printed by line block. When he did actually print porchoir, he was able to use a very dense, pigmented color, and these colors just pop. It's amazing stuff. This is one of the Peterstein-Hingham pieces from 1948. It's another example printed directly by porchoir. And the cover is interesting, because you may recall the drums of Calcapan was the insert in the dolphin from the 1930s. This is 15 years later. And the other things on this list, some of them never appeared, but many of them did appear at one time or another over a span of about 40 years. So in Dwingan's head, he had this whole fantasy world and this whole series of tales, and they appeared in kind of random order in different contexts over a range of 40 years. Again, porchoir printed amazingly hot color. And this is really interesting, the illustration is turned on its side and so is the caption. And this is an example of mailing labels that he applied with stencils. So he created a bunch of stencils. The special delivery, the bird, the first class male, those are all printed from stencils. Another stencil postal label. This is from American alphabets on the left from the 30s, basically a stencil geometric alphabet. And these are from the Abbey book, these are stencil element letters. So you can see the elements that it takes to make, actually from what you see here, you can make the whole alphabet. And anyone who's done type design knows that it's that kind of modular thinking that if you design an N and an O and you get your bowls, you get your stems and your arches and your serifs, they basically replicate through the letters. He did it with stencils. And some of his typeface experiments were done in this way. These are all different stencil elements for alphabets. This is from a book about designing type discussing the Falcon experimental face and the stencils he used to create it. So now we're gonna run through the type designs real quick. This is Metro. Actually, I think this is Metro two. So there were two variants of Metro. This was his first face. It's just been revived, actually. Metro Nova came out this year. This is trial proofs of Electra. And here's the first specimen of Electra. Trial proofs of Caledonia. And the first specimen of Caledonia. Trial proofs of El Dorado. And the first specimen of El Dorado. And then we have the experimentals. So this is Falcon, which is the one in the letter to Ruzica about designing type, where he used stencils to Arcadia, which is little known, but quite beautiful. These are all never released. Winchester was cast for Pewter Shine Hingham. This is the face Hingham, actually, which was called News Face Experimental. It was designed for newspapers. And it has a really interesting relationship between the counter forms and the outer forms. He's got a kind of a dissonance going on between the counters and the contours. This is Stoibacin. Another interesting thing, this came from a collection of type experimental trial proofs from Paul Bennett at Linotype. And what fascinated me about this batch of material when I finally got it organized, is that he was simultaneously working on about eight faces through the 1940s. The dates are just assorted. So all of these experimentals, in fact, a lot of these are dated and you'll see they just kind of jump around. It's not like he worked on one stocked and switched over. This was all happening simultaneously. This is Tipa Canoe. And this is also Tipa Canoe. And this is a proof. They often did this in the trial proofs. You'll see a proof of Dwaygan's face and then a proof of something that it was going to compete with or considered similar to. So in this case, it's Badoni on the right. The News Face was proofed with, I forget what, maybe Bookman. This is Winchester. And the trial setup booklet is really interesting. It explains the concept. So here is a spread where on the left you have English text upper and lower case. On the right, the same alphabet setting Latin. And because Latin has a less frequent incidents of ascenders and descenders, it's a quieter texture. And so the concept of Winchester, the reason it's an onchal or a bi-form is that he was trying to achieve the texture of Latin in English. In this spread, the Roman lower case is on the left, normal alphabet. And on the right is the same text with the bi-form, which is intended to be, again, a quieter texture, more like Latin. A couple of other random typeface designs. The one on the left is Plimpton initials. The one on the right is unidentified. It came from Paul Bennett's files. And as far as I know, it was never developed fully. Don't know what it is. If anybody knows anything, please tell me. And we're into marionettes. So this is his book about the making of marionettes. I had a consulting friend whose wife is a quite famous puppeteer in North Carolina. And a couple of years ago I found out that Dwaygan's is a big name in the puppet world even today because of this book and because of the marionette theater and the Abrams book about the marionette theater. He's almost as well known by puppeteers as he is by us type people. So this book is another entirely hand lettered and it shows his unique engineering. He didn't just make marionettes the way everybody else made them. He figured out how to engineer them from scratch in a way that was remarkably lifelike. The marionette theater had special effects. It had all kinds of gadgets and gadgets for lighting and sound effects. Here's a range of the marionettes and you can see that there are humans, animals and aliens. We'll get to that. These are two close ups of marionettes of young girls. The one on the left is early. The one on the right is later. He discovered that from the viewing distance you got a better impression, a more natural looking face by carving it in a more sharply faceted way. So initially he modeled them realistically and they were fuzzy from a distance. He then decided to cut them as you see on the right and they look natural from a distance. This is a marionette play that was published by Knopf and written by Dwiggins and this is the one with the aliens and the space things and all that stuff. So there are marionettes of all these things and they're made of aluminum and I don't know, shiny materials. This is a ticket to the marionette theater. The black is hand-done and printed by letter press from a line block and the color is applied by Pochouar. And this is just kind of to wrap up in addition to all of his other amazing accomplishments. This was a little booklet that was published by the typophiles in the mid-40s. Dwiggins was a pacifist on top of everything else. It's a wonderful little booklet. You can find it online. It's a quick read and I highly recommend it. Everything in it is still true. And there you go. Thank you.