William addison dwiggins biography of william
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William Addison Dwiggins
American type designer, calligrapher, and book designer (1880–1956)
William Addison Dwiggins | |
|---|---|
Portrait by David Trip | |
| Born | (1880-06-19)June 19, 1880 Martinsville, Ohio |
| Died | December 25, 1956(1956-12-25) (aged 76) Hingham Center, Massachusetts |
| Other names | W.A. Dwiggins W.A.D. “Dr. Hermann Püterschein” |
| Occupation(s) | Type designer, calligrapher, book designer |
| Spouse | Mabel Hoyle Dwiggins |
William Addison Dwiggins (June 19, 1880 – December 25, 1956), 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.[1][2][3] His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, using Oriental influences and breaking from the more antiquarian styles of his colleagues and mentors Updike, Cleland and Goudy.[4][5]
Career
[edit]Dwiggins began his career in Chicago, working in advertising and lettering. With his colleague Frederic Goudy, he moved east to Hingham, Massachusetts, where he spent the rest of his life. He g
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Remembering W.A. Dwiggins, The Early 20th Century Designer Who Never Shied Away From Ornament
“Ornament is a music of space.”
—William Addison Dwiggins
The early 20th century designer William Addison Dwiggins was an ardent advocate for decorating the printed page. Like the fleurons of early printers, he designed ornament that harmonized with type, “not by reworking elements culled from early printed books; rather by making his own designs,” said Dorothy Abbe, Dwiggins’ long-time assistant.
This was something I experienced firsthand on a recent used bookstore sojourn, when I happened to come across a copy of Thomas Dreier’s The Power of Print—and Men. The book was“designed and decorated,” according to the colophon, by Dwiggins and published by the Mergenthaler Linotype Company in 1936. I was instantly drawn to the bold pattern of random geometric shapes blanketing the paper covers. Inside the book, striking headpieces constructed out of the same shapes introduce each section; all of which complement two of Dwiggins’ Linotype faces, Metro and Electra. This book whet my appetite for Dwiggins and his daring use of ornament.
Dwiggins’ early career centered heavily on advertising but when diagnosed with diabetes in 1922, he veered toward his passion for book