#sunday press

[graphicpolicy]

Dauntless Dames is some awesome comic history highlighting classic women characters & their creators

Dauntless Dames is some awesome comic history highlighting classic women characters and their creators #comics #comicbooks #graphicnovel

Dauntless Dames: High-Heeled Heroes of the Comics highlights the audacious exploits of ten great adventurous female stars from the Golden Age of comic strips. In the 1920s they were socialites and flappers. In the 1960s they were homemakers and heartthrobs. But from the late 1930s to the early 1950s, female stars of the newspaper comic strips were detectives, spies, soldiers of fortune, even…

[gallifreyanhotfive]

Now, now, we all know that the One Who Waits must be *shuffles a deck of classic and EU character cards and they all go flying everywhere* Shit. Uh. It must be *gathers up cards hastily but they spill out over my fingers* Shit. Shit. I'm so sorry. I'm so, so sorry. Fucking hell. We all know that the One Who Waits must be *dramatically selects a single card and holds it up for the audience* the Doctor’s Aunt Flavia.

[themetalhiro]

Was feeling pre timeskip today

[felassan]

Article: 'Dragon Age: The Veilguard took "so long" as BioWare "wanted to make sure we got this one right" - that, and "it takes a long time to record 700 characters" and 140,000 lines'

The Veilguard is "the best version" of itself that it could be

Excerpt:

"BioWare reveals why Dragon Age: The Veilguard has been in the works for a long, long time - and it sounds like the upcoming RPG is downright massive, from dialogue to voice acting. The 10-year wait for a new Dragon Age is coming to a close as the fall season approaches, meaning that excitement for the game is at an all-time high. Why did The Veilguard take "so long" to come to fruition, though? Speaking in an interview with GamesRadar+, creative director John Epler and creative performance director Ashley Barlow explain why work on the beloved RPG series' soon-to-come entry was seemingly slower. "We had other projects going on at BioWare as well," Epler says. "We wanted to make sure we got this one right." The developer continues, calling The Veilguard "the best version" that the new Dragon Age "could possibly be." Barlow then chimes in, describing how she's been working on the game for five years now alongside its cast of actors: "We started casting five years ago. The team, the talent has been on for five years." And, according to Barlow, five years isn't that long considering the amount of work the cast had to do: "It takes a long time to record 700 characters, you know - 80,000 lines or 140,000 lines with all the Rooks. It just takes time to make good."

[source]

[uwmspeccoll]

Chinese Ceremonial Papers

Many hundreds of varieties of prayer sheets used to be produced by specialist ma-chang printers all over China. Many of the limited range made today are the cheapest offset-litho jobs on the cheapest machine-made papers, but the designs still imitate the original woodblock prints.

Modern Taiwanese sheets of cash, made from recycled paper, sold very cheaply by weight in Taipei.

Mock money and other ceremonial papers for religious ceremonies will be gathered in "bowls" of crude papers, usually made of a mixture of rice-straw and bamboo fibers.

The simplest form of mock money is made traditionally with thin layers of tinfoil affixed to the center of a small piece of bamboo paper, although in contemporary production the cheapest grades of machine-made paper will be used instead, and in Taiwan and Malaysia metallic inks may be used instead of tinfoil.

Here's a piece of mock money in traditional colors with auspicious designs, and tinfoil brushed over with a dye from the pagoda tree to make it resemble gold.

Contemporary Taiwanese ceremonial paper.

Another variety of gold mock money, with inscriptions and symbols for good fortune building up the design, usually still quite well printed from woodblocks on fairly good quality paper, but sometimes now mass-produced by offset lithography.

Contemporary ceremonial paper printed letterpress on a stout machine-made paper in Hong Kong. The yellow coloring might have been brushed on by hand, but otherwise production of these attractive sheets has been mechanized completely.

At the Feast of Hungry Ghosts many large sheets of paper with pictures of all the clothes one's ancestor could need are burned. Although images of the paraphernalia of modern life like cell phones and computers might be printed on these papers, the clothing is always of traditional style.

Red paper envelopes with good luck symbols have been used for many years to enclose gifts of money made at New Year. They may be found wherever any ceremonial papers are sold; today usually with elaborate and eye-catching gold-stamping.

Decorative Sunday

The examples shown here are original paper samples included in Roderick Cave's (1935-2019) two-part article on "Ceremonial Papers of the Chinese" published in Matrix 12 (Winter 1992, pp. 51-66) and Matrix 13 (Winter 1993, pp. 161-177), printed at the John and Rosalind Randle’s Whittington Press in Risbury, Herefordshire, England.

In these articles, Cave, a noted print historian, librarian, and educator, discusses the history, manufacturing, printing, distribution, and uses of Chinese ceremonial papers used in rituals, celebrations, and festivals associated with the gods and the ancestors.

Our copies of Matrix are a donation from our friend Jerry Buff.

View more posts on Chinese papers.

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[ifourloveisdead]

Notable bands in emo music history from Alternative Press, November 2017.

[adrian-paul-botta]

Lillian Gish ''Why I've Never Married'' Sunday World Herald - Omaha NB January 16, 1938

[the-emblematic]

the cycle currently is :

play totk for several hours -> convince myself to take a break and do some work-> turn off game -> be productive for five minutes -> get bored, get on tumblr -> go through totk tag -> “huh that looks fun i wish i was playing” -> turn game back on -> repeat

[pinkrose05]

Sungenti & Robinhill would go on the most terse double dates in history. That's it that's the post.

[adamdforever]

Sunday mood

[ilikethisacompletelynormalamount]

Andrew Scott, The Sunday Times - Style

📷 Ward Ivan Rafik

[fantasykiri5]

Day 6 of @hermitadaymay and it’s the one and only Sans Undertale!!

[k-wame]

lol what spending time with mostly queer ppl does to a man

[uwmspeccoll]

Decorative Sunday

Today we present all the chapter-head designs from Paraphs by Hermann Püterschein, printed in an edition of 540 copies at the Plimpton Press in Norwood, Connecticut, and published in New York by Alfred A. Knopf in 1928. It was the first (and the only) production of the Publications of the Society of Calligraphers.

The Society was an entirely fictitious organization promulgated by the American book and type designer, and popularizer of the term "graphic design," W. A. Dwiggins (1880-1956). Dwiggins had "founded" the Society in 1919 as a vehicle to promote his ideas about design and to promote himself as a designer of books rather than as the advertising designer with which he began his career. Dwiggins was the secretary of the Society and his alter ego Hermann Püterschein was its president; it had no other official members, although many were in on the ruse.

The Society produced three other publications (not part of the stated "Publications of the Society of Calligraphers") before Paraphs (1919, 1924, 1925), and a plethora of printed ephemera, letterheads, envelopes, documents, certificates, etc., to legitimize its official status. Dwiggins goals appear to have been successful as he soon became sought after by book publishers and type foundries, and Paraphs was the last Society publication.

The chapter-head illustrations for Paraphs are typical Dwiggins designs. Our copy is another donation from the estate of our friend Dennis Bayuzick.

View more posts related to W. A. Dwiggins.

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