WP needs more photography to illustrate surviving classical buildings of antiquity
strong sunlight accentuates sculptural detail, whenever possible please.
avoid wide angle lenses (short focal length), they distort.
axonometric views are best obtained with a normal or portrait focal length some distance from the corner of a building
shoot small details with telephoto lenses
true optical sharpness can only be obtained with the camera held absolutely still. For most lighting conditions this means a tripod and the smallest lens apertures. Stopping down to small apertures usually entails long shutter speeds.
hand-held shots can be made fairly sharp by using a shutter speed the reciprocal of the lens' focal length, e.g: for a 35mm format camera with a 100mm lens a shutter speed of 1/125th of a second will largely compensate for the hand-held sway. For a 250 mm lens you'd use 1/250th of a second
The tetrastylepseudoperipteral"Temple to Fortuna Virilis in the Forum Boarium, known as 'Fortunu Virilis' is dedicated to Portunus the tutelar divinity of the port on the nearby Tiber." — Henri Stierlin
A Henri Stierlin photo in Greece: From Mycenae to the Parthenon, Henri Stierlin, TASCHEN, 2004, shows the building free from obstructions on all sides, but I have no date for that pic. Contemporary www pics show dense folige obstructing the ground on either side, visible in Ryan's photo.
From examining numerous photos:
Building is largely intact despite fire damage.
Accessable from the front & rear.
Front & rear tympanae intact and very complete, minus any sculpture that might have occupied the pediments.
A protective barrier surrounds it—very close to the temple itself, so you can get quite close to snap details.
Pics required From the front:
A straight-on view of the facade from some distance (approx. 10 - 20 ft); cars are able to park in front of it; shoot with normal to portrait focal length. Get as high up as possible to avoid keystone distortion by tiliting off horizontal plane.
Axonometric views from both corners please, like the existing photo but if possible from further away shooting with normal to portrait lens.
Ionic column bases damaged but still photographable, detail shots please.
Entablature and Ionic capitals in excellent condition, detail shots.
Remaining aisle structure of the Basilica of Maxentius and Constantine in Rome.
Apparently it is possible to get much closer to this structure than the vantage point of the current photo. I rewrote the descriptive text of this article based the plan drawing and axonometric reconstruction in the TASCHEN book The Roman Empire by Henri Stierlin.
Position camera at left corner for axonometric view—in front of the dense clump of green bushes—between the bushes and the basilica.
Tilt camera up slightly to capture the octagonal coffers on the arch ceilings of the cross vaults. Try to get the arcade running thru the center of the vaults at ground level in the same shot.
The deep vaults cast a shadow over most of the coffers for most of the day. There may be only a narrow time frame when a portion of the coffers are lit by full sunlight.
The surviving freize is decorated with widely letter-spaced Roman inscriptional capitals, proof positive for typographers and lettering artists that the Romans were seriously into letterspacing on their public buildings
Front-on telephoto views please, of the complete inscription and portions
Individual letters or as close-up as equipment allows
Hexastylepseudoperipteral Roman temple on high podium reached by steps. A most classical form of Vitruvian design in a remarkable state of preservation. "Tuscan Corinthian" columns, band of very classical sculpted ornamentation runs around the frieze, very refined dentils, petrified drips everywhere.
Existing WP pics by User:ChrisO (2 of them) are a great start, but much higher resolution shots are desirable, from all sides, front-on and axonometric views required
Detail pics of column bases, fluting, capitals, entablature, decorated frieze and engaged columns embedded along the walls of the cella. These shots will require a tripod, telephoto lens(es) and long shutter speeds at small apertures.
Interior of Cella: Reconstruction by German Architect Josef Bühlmann.
WP needs many more of these, preferably of much higher quality and larger/high resolution too.
So get out those art and history books, old encyclopedias and yearbooks, scan artwork in the public domain and upload it. Look for color guauche and illustrations—"artist's conception" style, especially reconstructions of Greek polychromy; Correct, Greek temples in antiquity were painted in lively colors, mostly the capitals, entablature and adorning sculpture, yet few of the articles on classical Greek architecture touch on this aspect.
Arbo16:02, 17 August 2006 (UTC)[reply]
Hi
Im sorry to bother you, but your the fisrt typographer I saw and I have some questions if thats allright. The letters I and J and the letters U and V all were variants of the same letters, but became seperated to do different jobs. ¿Why is it that long-s carloginian g and some other variants didnt become seperate letters?Cameron Nedland21:03, 13 July 2006 (UTC)[reply]
Hi Cameron,
You're welcome to ask questions—I am happy to answer them. Sorry for the long delay in getting back to you, I've been on extended Wiki leave.
"The letters I and J and the letters U and V all were variants of the same letters, but became seperated to do different jobs."
Yes. Those derivations occurred as a result of the adaptation of the Latin alphabet from the ancient Latin language to serve the alphabets used by Old English and Old German (dark ages & medieval period). Ancient Latin did not have a U letter because ancient Latin word forms created the "u" sound with combinations of other letters, whereas Old English and Old German word forms required a separate U, so the Latin V letter was differentiated to produce U. Much the same evolutionary process occurred to I and J; that is, I was differentiated to form J as a new consonant due to differences in Latin word forms versus Old English and Old German.
"¿Why is it that long-s carloginian g and some other variants didnt become seperate letters?"
When moveable type printing came along, Italian typographers modified the Carolingian g by changing its shape into the familiar double story g seen in "roman" text/book fonts right up to the present. The Carolingian form was never abandoned altogether, but lives on as the so-called "single story" g which is standard in most sans serif text fonts. It helps to know that the Carolingian g evolved from the Roman majuscule G.
Long-s was a typographic convention that did not need to become a separate letter. Rather, typographers stopped using long-s in the middle of words because the long-s shape looked too much like "f" and caused readability problems, so it fell out of use for practical reasons.
Other variants (depends which letter forms you mean) fell out of use because their forms were not differentiated enough to withstand the homogenising force of uniformity in typeface design. From the 16th century up to the present, the general trend has been toward increasingly uniform type designs, in which letter forms to submit to a modular approach. The modernist movement of the early 20th century is perhaps the penultimate expression of this uniformity, rejecting even the smallest aberations wherever they exist, until "one size fits all".
To summarize, some letters split and differentiated to become new letters for linguistic reasons (the transition from Latin to Old English and Old German), while others were homogenised by the standardization wrought by moveable type printing and typography.
It's my pleasure! Glad we share a passion for antiquities (and space). I've got a lot more photos, and I travel to Italy twice a year or so - so if there are any articles you'd like me to shoot for, I'd be more than happy to oblige! And thanks for the lovely berliner. (Yum, yum!)-- User:RyanFreisling@17:13, 15 August 2006 (UTC)[reply]
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Thanks for the cat. It looks quite like the [Anubis] of the feline world...
My apologies for just writing up comments and not contributing. My intent on specialist articles such as this is to talk first, and edit later. It gives an opportunity to touch base with the principal authors (hello) of the article before messing with their workflow. Also, I've become a little busy lately with moving city and finding a new job, so I'll probably sit down and have a decent blat at it in about a month or so. I've been keeping a close watch on the page, and I'm impressed with the progress. Keep up the good work!
I saw that you made some major edits to the type section. We would love to have you work with the Graphic design WikiProject to strengthen and bring together all of the Design related articles on Wikipedia. See you there?
– Steveluscher17:02, 13 September 2006 (UTC)[reply]
I had corrected a typo in the section "Gutenburg's Hand Mould" where "possible with modest investme," was changed to "possible with modest investment," by me. The section was missing the letters "nt", thus rendering the word investment incorrectly.
Why did you choose to disregard my change and revert to an earlier version? It most certainly does not lie "outside the scope of the section, Gutenberg's hand mould" as it is a simple typographical correction. —The preceding unsigned comment was added by 69.139.64.88 Please sign your comments on talk pages by typing four tildes. For a registered user this will automatically print your user name and the date.
Dear 190.39.198.96, your addition (reposted below) to Typography lies outside the scope of the section, A brief description of the type casting process, the text of which is concerned with type casting, but not punchcutting or compositing. That stuff belongs in Typesetting, Sort (typesetting), and punchcutting.
Dear James,
Please excuse my momentary surge of enthusiasm, but I did read the section title properly, thus believe that your reason to reverse edit the changes I volunteered, highlights the very inconsistency that motivated these changes in the first place.
I would suggest that you consider that the actual type casting process does not start with the production of counterpunches, punches and matrixes, but with the configuration of the mould itself, basically because very different types of personnel would be involved.
The earliest work (in English), that I am aware of, that refers to this process is Moxon's Mechanick Exercises, whose descriptions, despite allusions to the contrary, point in this direction.
Perhaps you might like to divide this section into two separate ones covering type design and type casting and then flesh them out accordingly to bypass the aforementioned inconsistency. —The preceding unsigned comment was added by 190.39.198.96 Please sign your comments on talk pages by typing four tildes. For a registered user this will automatically print your user name and the date.
...believe that your reason to reverse edit the changes I volunteered, highlights the very inconsistency that motivated these changes in the first place...
I've removed the info on compositing from the restored original draft. Your edit exacerbated that problem by introducing info on the of production of counterpunches, punches, matrices.
...I would suggest that you consider that the actual type casting process does not start with the production of counterpunches, punches and matrixes...
It was you who added info on the production of counterpunches, punches and matrices. (plural of matrix is "matrices"). That's why I removed that info. The section originally opened with a brief intro to Gutenberg and his familiarity with letter punches and casting from matrices, included only to make the description of typecasting comprehensible..
..Perhaps you might like to divide this section into two separate ones covering type design and type casting and then flesh them out accordingly to bypass the aforementioned inconsistency...
The complete Typography article is now larger than WP recommended maximum size, and as per another editor's suggestion the whole history section is about to be broken out into a new article, the History of typography.
Please do not twist reality, and please sign your comments on talk pages.
By the way, I do value your contribution(s). They're easily worth a Gentium Pilcrow Award. So thanks! We just have to put your work into the right articles. Don't be discouraged by bold editorial descision (mine).
Note I've responded on my talk page as well, regarding the page move. The article History of typography is a delight. You should be very proud of this contribution - I'd say it could make a featured article someday soon! For now, I'd put it on peer review when you're ready. And bear in mind this is not 'your' article anymore - it's been contributed to the WIkipedia and it may go in any direction - you can serve it best by practicing a bit of distance while you continue to help the article grow. Again, a really exceptional job. -- User:RyanFreisling@15:13, 26 September 2006 (UTC)[reply]
You're the best Ryan! I've responded on your talk page too. Don't worry—I'm much less posessive about the material I've written now that it stands as a separate narrative. Some valuable contributors have come on board recently and I'm looking forward to their input.
James, I've noticed your blitzkriegesque rapid reversal of new information and the deletion of new uploaded type specimens today. On my recommendation several students at The Art Institute of Boston have taken a dive into wiki typeface articles, and I believe left them better than they found them. If you differ, how about editing what you disagree with, rather than reverting, and please do stop deleting their images. Imagine finding your own lovely images deleted. Not nice, huh? Why invite aggression when my country is already supplying so very much to the world? Might we have a truce, or will the deletions continue, perhaps followed by slashing, burning, and sowing fields with salt?
Let's beat these swords into plowshares. Nation shall not lift up sword against nation, the pen is mightier than the sword, e&, e&. Best, Jim CApitol322:46, 3 October 2006 (UTC)[reply]
I am troubled to see such rash and aggressive editing with deletion of what is clearly a superior specimen. What's next Mr. Arboghast? Sowing NGAGAS' fields with salt? Must you slash and burn? None of us own any wiki article. I have tried to find a middle ground between the new contnet and old. As a professor of typography I do not se a problem with the new information, If you differ and can back it up, please edit, not revert and delete.CApitol3
I have not reverted anyone's edits or contributions, as I did not perform a revert edit command. I have not deleted any facts but consolidated everything added so far.
I have not deleted any image files. I only changed the image source filename in the article text back to the last functioning image, as per WP guidelines. The image I replaced was not your specimin but another one by User talk:NGAGAS, "Bodonispecimen.jpg" tagged by an automated bot.
...and please do stop deleting their images.
I have not deleted anyone's image file(s). The image of Bauer Bodoni you "restored" to the Bodoni article --- Image:250px-Bodonibodoni.jpg --- is not rendering on its own page or in the article. The edit history shows you are the only person who has touched it --- [1]. If you wish to include the nice Bauer Bodoni specimin "Bodonibodoni.jpg", you will need to get the image functioning.
"Must you slash and burn? None of us own any wiki article."
"What's next Mr. Arboghast? Sowing NGAGAS' fields with salt? Must you slash and burn? None of us own any wiki article."
Mr. Arboghast, please see the Bodoni discussion page, where I apologize for my own misinterpretation, and for my agressive response. I am sorry. Best, Jim CApitol3
a nice cup of coffee. Because we're all human and make errors. I love John Kennedy, the man who got human kind to the moon! God bless. I love Boston and Philadelphia. The Pennsy railroad has a special place in my heart.
Hi Jim. :-) Thanks for the explanation. Everything is just fine. Here and there, the close timing of two editors can make one editor's actions seem harsher or more reactionary than they really are. I happen to be looking at the articles for Bodoni, Caslon and Baskerville at present, as I'm about to expand the section on 17th & 18th centuries for the History of typography. Sorry Nicole; most of my edits are bold and in good faith. I considered yours to be in good faith too. I'm happy to build up the Bodoni article with you.
My apologies for my vague edit summary regarding the image being "deleted"—that was my error.
I hope we can get your samples working soon. Looking forward to seeing them.
A typographic bone in this meaty matter. My coffee was delicious, and I helped myself to a Berliner. Almost want to look for an article on Berlin Sans. Thanks for your good cheer, and thanks to your country for sharing the Parkes Radio Telescope that allowed me (age 12) to see Mr. Kennedy's men walk on the moon. Thanks also to Michael C. Berch for the steak picture.
Hi James, I am relieved to have my apology accepted. Thank you. I am trying to see why my students illustrations are not showing on your computer. Are you on a Mac or PC platform? I turned of my Bauer Bodoni thinking the type might not be saved as outlines but it appears to be okay.
Do you know the typeface Bulmer? How about Walbaum? I've notice some very nice Roman temples on your talk page. Great stuff. Our Thomas Jefferson designed the original building of the Virginia state capitol largely inspired by the Maison Carrée. He changed the order though; from Corinthian to Ionic. Jim CApitol320:00, 4 October 2006 (UTC)[reply]
Hello James,
Since beginning a cursory review of the articles relating to typography, I seem to have stumbled upon a slight problem.
In the course of preparing an article on type metal, to which various references appear in other articles, these all point to the punchcutting article, which surely is not appropriate.
Sorry to bother you with this, but since I'm not overly expert in wikipedia matters, I'd like to know if you can help me do something about this?
Thanks anyway, I think I've found it, never mind ... still fumbling a bit.
Hi James. I have given a try at putting a specimen back up on hte Bodoni page. Would you please take a look at it and let me know if you can see it. Curious too, to pick up the thread of our last conversation. I have been crazy busy covering a colleague's work due to an emergency in her family. besst, Jim 03:40, 15 October 2006 (UTC)
Image replacement
Hi James. The Iowa face is realy interesting, might get a license for it. On the subject of replacing images, you mentioned "overwriting." I've not yet been able to locate that step. Could you please point me towards some instructions on Wiki? I think what you are suggesting is to upload a new image to replace an existing, possibly by deleting the old one as the new one is uploadedis that right? Or, I could be completely unclear on this. Thanks, Jim CApitol303:16, 17 October 2006 (UTC)[reply]
Font infoboxes
I've noticed that infoboxes are disappearing from a numbre of font pages. Was this agreed upon somewhere? I thought that the infoboxes gave a nice summary of the font without reading the articles... atanamir09:20, 17 October 2006 (UTC)[reply]
Hi, Thanks for the reply. I guess the easiest solution would be to create a more aesthetically pleasing infobox that integrates the new samples, yet is as informative as the old one? IF you're interested, i've started wokring on one here: User:Atanamir/TypeBox. I know you're busy with other stuff, so if you're too busy, just ignore this! Thanks! atanamir05:14, 18 October 2006 (UTC)[reply]
![[1]](https://en.wikipedia.org/w/index.php?title=Image:250px-Bodonibodoni.jpg&diff=prev&oldid=79338140){kind=link}
