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William Addison Dwiggins (June 19, 1880 Martinsville, Ohio – December 25, 1956 Hingham Center, Massachusetts), was an American 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. He and his wife Mabel Hoyle Dwiggins (February 27, 1881 – September 28, 1958) are buried in the Hingham Center Cemetery, Hingham Center, Massachusetts, near their home at 30 Leavitt Street, and Dwiggins' studio at 45 Irving Street. 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. Alblabooks, 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 book design in the 1920s and 1930s. He gained recognition as a calligrapher and wrote much on the graphic arts, notably essays collected in MSS by WAD (1949), and his ''Layout in Advertising'' (1928; rev. ed. 1949) remains standard. In 1926, the Chicago Lakeside Press recruited Dwiggins to design a book for the Four American Books Campaign. He said he welcomed the chance to "do something besides waste-basket stuff" which would be "promptly thrown away" and chose the ''Tales ''of Edgar Allan Poe. The Press considered his fee of $2,000 to be low for an illustrator of his commercial power. Dwiggins is credited with coining the term 'graphic designer' in 1922〔Livingston, Alan and Isabella., 'Dictionary of graphic design and designers'. London: Thames and Hudson, 1992〕 to describe his various activities in printed communications, like book design, illustration, typography, lettering and calligraphy (his first typeface designs were released much later). The term did not achieve widespread usage until after the Second World War. ==Typefaces== His most widely used typefaces, Electra and Caledonia, 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 Erbar, Futura, and Gill Sans, which Dwiggins felt failed in the lower-case. The following list of his typefaces is thought to be complete.〔MacGrew, Mac, ''American Metal Typefaces of the Twentieth Century,'' Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4, p. 335.〕 Dwiggins was unfortunate to enter the genre of type design in the time of the Depression, and many of his designs did not progress beyond experimental castings in sufficient quantity for use in books he designed. * Metro series * * ''Metrolite + Metroblack'' (1930, Linotype) * * ''Metrothin + Metromedium'' (1931, Linotype) * * ''Metrolite No.2 + Metroblack'' No.2 (1932, Linotype) * * ''Metrolite No.2 Italic + Lining Metrothin + Lining Metromedium'' (1935, Linotype) * * ''Metromedium No.2 Italic + Metroblack'' No.2 Italic (1937, Linotype) * * ''Metrolight No.4 Italic + Metrothin No.4 Italic'' (Linotype) The Metro series was redesigned on entering production, with several characters changed to better echo the then-popular Futura. This formed the Metro No. 2 series. Some revivals return to Dwiggins' original design choices or offer them as alternates. Concourse by Matthew Butterick is a loose revival adding a wide variety of alternate character designs and small capitals. * Electra series * * ''Electra + Electra Oblique (italic) '' (1935, Linotype) * * ''Electra Bold + Italic'' (Linotype) * * ''Electra Cursive + Italic'' (1944, Linotype) * * Matching ornaments, sometimes called the ''Caravan'' series (Linotype) * Charter (Designed 1937-42, used only for one book, never released, Linotype) * Hingham (Designed 1937-43, cut in 7 pt. but not released, Linotype) * Caledonia series * * ''Caledonia + Italic'' (1938, Linotype) * * ''Caledonia Bold + Italic'' (1940, Linotype) * Arcadia (Designed 1943-47, used only for Typophile's ''Chapbook XXII'', never released, Linotype) * Tippecanoe + Italic (Designed 1944-46, used only for one book, never released, Linotype) * Winchester Roman + Italic + Winchester Uncials + Italic (1944–48, hand cast by Dwiggins, not released in metal but digitised) * Stuyvesant + Italic (1949, Linotype), based on type cut by J.F. Rosart in Holland about 1750. * Eldorado + Italic (1950, Linotype)〔(【引用サイトリンク】url=http://www.fontbureau.com/fonts/Eldorado/ )〕 * Falcon + Italic (1961, Linotype) * Experimental 267D (not released) Other fonts have been created after his death inspired by Dwiggins' lettering projects, although these were not authorised by Dwiggins in his lifetime. A trick used by Dwiggins to create dynamic-looking letter shapes was to design letters so the curves on the inside of the letter do not match those on the outside. This intentional irregularity was inspired by the difficulty of carving marionettes for his puppet theatre. It has since been used by other serif font designers such as Martin Majoor. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「William Addison Dwiggins」の詳細全文を読む スポンサード リンク
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