Background
In 1936, he established the Greenwood Press, named after the street on which it was located, in a small building that he and his father built behind the family home in San Mateo, California.
(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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(High Quality FACSIMILE REPRODUCTION: Stauffacher, Jack We...)
High Quality FACSIMILE REPRODUCTION: Stauffacher, Jack Werner. ive :A Printed Word Has Its Own Measure : Oral History Transcript / And Related Material, 1968-1969 : 1000 :Facsimile: Originally published by n/a in n/a. Book will be printed in black and white, with grayscale images. Book will be 6 inches wide by 9 inches tall and soft cover bound. Any foldouts will be scaled to page size. If the book is larger than 1000 pages, it will be printed and bound in two parts. Due to the age of the original titles, we cannot be held responsible for missing pages, faded, or cut off text.
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graphic artist book typographer
In 1936, he established the Greenwood Press, named after the street on which it was located, in a small building that he and his father built behind the family home in San Mateo, California.
He has taught at Carnegie Mellon University and at the San Francisco Art Institute. His first books appeared when he was in his early 20s. In 1955, he received a Fulbright grant for three years of study in Florence, Italy.
There he met master printers Giovanni Mardersteig and Alberto Tallone, whose work and ideas influenced him profoundly.
After his return to the United States., he became assistant professor of typographic design at Carnegie Mellon. His work led to the formation of the New Laboratory Press.
He went on to become typographic director at Stanford University Press and to teach at the San Francisco Art Institute. In 1966, he reopened the Greenwood Press in a building at 300 Broadway in San Francisco and resumed producing books and limited editions such as Albert Camus and the Men of Stone (1971).
In 1967, he was commissioned to redesign the Journal of Typographic Research, later renamed Visible Language.
The typographic composition he used for its cover was used for many years and became something of a design icon. Stauffacher was added to the distinguished list of American Institute of Graphic Arts medalists in 2004. Several of his experimental compositions using wood and metal type are in the permanent collections of the San Francisco Museum of Modern Art and the Stanford University Library.
Much of his life and work is documented in the book A Typographic Journey / The History of the Greenwood Press published by the Book Club of California in 1999.
He was the subject of an article and his work featured on the cover of the groundbreaking Emigre magazine in 1998.
(High Quality FACSIMILE REPRODUCTION: Stauffacher, Jack We...)
(This is a reproduction of a book published before 1923. T...)
Board directors Carnegie Institute of Technology, Pittsburgh, 1960-1963.
