No, the Quiz 2015 did not show an organ. I quite simply do not understand how no one got that this is an illustration of the Monotype Keyboard piston block. Wasn’t it obvious. Shame on you! Taken from the essential Book of Parts, dated 9/56. [Better luck next year.]
In reviving a ‘tradition’ that was first launched in 2012 (see here), may I first of all wish those loyal, and new, readers a safe, relaxing, enjoyable and stress-free (is that possible?) holiday season wherever you may be. Take time out and take time to reflect.
Okay – here is the photo: can you name what this is and what machine it belongs to? There is no prize – just the quiet adulation that comes from being one of the few able to recall pre-digital technology (now, that was a clue). I will give the answer to those suffering sleepless nights in the first week of January 2016. And – no Googling. Not that it will do you any good mind.
A friend from London, UK, writes: “I noticed Station number X had a pair of dice (the Romans were gambling for Christ’s clothes) but that Gill did not have the correct configuration of the numbers on the die. Gill did not know that the opposite sides of the dice always add up to seven. Five is opposite to two, six is opposite to one, and four is opposite three. Ooops. The curse of the sub-editor strikes again.”
I was recently contacted by a guy seeking some initial tuition in learning how to letter-carve. As I was nearby I called in to see him and ran through a few basics. As I was there I realised how important it is to master the following:
- Proper preparation of the letters – spacing and shape. Need to draw on paper first and then transfer to the surface of the stone.
- Need to keep stem widths even throughout
- Attention to terminals
- Close attention to characteristics of each letterform.
- Build/make yourself a frame so can cut standing – not hunched over a bench.
Happy to answer questions – and also browse the blog for other entries on letter-carving.
Adrian Frutiger passed this life on 10 September 2015. Read here for an obituary.
I previously wrote about Frutiger here.
In his Signs and Symbols he writes of the value of ‘interior and intermediary space’. Designers take especial note. ‘The beauty of a sign,’ he writes, ‘is often the result of a struggle between the resistance of the material and its conquest by the instrument…By contrast, the Oriental way of thought and expression…puts the creative act more into the mastery of a gesture with which the brush lays the sign on paper’. [Studio Editions, London, 1989, p.101.)
I did not know of Frutiger’s personal life so as a mental health social worker I find he lost two daughters to suicide prompting him and his partner to establish a foundation