| # | Name | Comments |
|---|
| 651 | Professor Peter Rea, FISTD, ARCA etc etc | Save this Museum I emplore you..I am an Honorary Professor at the University of the Arts Bremen germany... I learnt my skills as a typographer and typographic designer at the London College of Printing in the early 1960s. Since then I have become an expert in contemporary Digital Computer-aided Design for Printing but...The benefits of handling Type and understanding the fundamental principles of Letterpress printing, Typeface design and Typesetting have enabled me to spread the concepts of Quality in Design, Readability, Legibility and all matters connected with Printing as she was, then, and as she is now. Throughout nearly 50 years of practice as a designer and educator I have worked in more than 20 countries – working with Computers and Digital Composition and Printing but always underpinning this knowledge with a genuine understanding of all that led to it. That understanding is illustrated and touchable at the London Type Museum. This Museum is unique, it is a touchstone to keep our history of printing and communication for which Britain is so famous, alive and reachable. Britain has played a major part of this history of printing, design, media and communication equalled in the world only by Germany, equalled but not superseded by Germany.... Other major design works such as the Underground Map (the Underground Diagram by Henry Beck) are already buried in the V&A vaults... Monotype itself was asset stripped and sold off to land speculators ca 1990; and that historic site and all its contents was lost as a teaching tool that was once visited by hundreds of students and budding designers. The London College of Printing itself, in its eventual enthusiasm to face the future of Digital/Computer based printing and Typographic Design, also disposed of many many classically important pieces of equipment, Type Families and as a centre for craftspeople and designers to learn their history before making new history. The London Type Museum has been painstakingly built up in the same way that railway enthuisiasts have managed to save some fragments of our british Steam Age... tell me what is more engaging than to see Steam Trains in action, to ride on their coaches, to smell the oil and coal and hear the steam from the engine. The same is as important for Printing, Typesetting and Design. Please do not destroy this Museum... perhaps the trade off as the saviour of the museum is to make the Museum less anonymous, and to insist that it publicizes itself more and brings more visitors to it... but never never destroy, divide, redistribute this unique and important collection. Thank you for listening and I with all other petitioners know you will do the right thing and put money in, save this project and expand its usefulness as a Mine of Information and History to be mined. Peter Rea, Professor, University of the Arts Bremen Germany, consultant Notre Dame University Beirut; and consultancy based in central London UK. |
| 652 | Stephen Bull | This is a another part of our
craft/Industrial Heritage
that is about to be lost. Its important to keep the collection together and build apon its foundations rather than pull it apart and
allow it to disapear.
Not only is this an important collection in the history of Graphic Design but an important link to the art of the Lead worker and our Indistrial past. |
| 653 | Dennis Y Ichiyama | |
| 654 | Mike | |
| 655 | elena veguillas | |
| 656 | Tim Daly | |
| 657 | Anonymous | ¿De que vas? |
| 658 | Txus Marcano | En breve Inglaterra estará a la altura cultural de España con este tipo de acciones. Ya vais por buen camino, si señor....
Es una verguenza que cada vez más la cultura (no hablo de espectáculo) se vea atenazada por estas amenazas cada poco tiempo. |
| 659 | Marc salinas claret | Like typography professor, I believe that never this type of museums would be due to close!!! |
| 660 | Prof. Jay Rutherford | This Museum must live. I support Peter Rea's comments fully. |
| 661 | Ivan Castro | |
| 662 | Ivan Castro | |
| 663 | Idoia Acha | |
| 664 | Andreu Balius | Keep it running! |
| 665 | carolina | |
| 666 | Gemma Fletcher | |
| 667 | jess bentall | |
| 668 | Peter Luff | Keep it open! |
| 669 | carmen martinez selma | No cerrar el museo, eso es indigante para la cultura y para eñ progreso y la memoria, no puede ser, que quieran cerrar un museo por falta de fondos, antes que cerrar los campos de fútbol, o los campos de golf, o las iglesias, o los restaurantes de comida rápida o los ayuntamientos corruptos, o tantos y tantos lugares que sobran en las ciudades y que no hacen más que perjudicar su salud social y cultural. Un saludo. |
| 670 | miriam jimenez parres | Si quitan el museo que quiten también a la familia real. Saludos. |
| 671 | Teresa Gimeno | I like this museum!!!! |
| 672 | Rachael Smith | |
| 673 | graciela artiga | |
| 674 | piers rodgers | |
| 675 | Peter Tingey | A knowledge of typographical history is integral to understanding our cultural development. This Museum represents an irreplaceable resource that must be used. |
| 676 | Peter Tingey | A knowledge of typographical history is integral to understanding our cultural development. This Museum represents an irreplaceable resource that must be used. |
| 677 | Andréas Schweizer | Le Type Museum est un ensemble remarquable du patrimoine typographique européen et mondial. Au titre du patrimoine industriel, comme le Musée Plantin-Moretus, l'Imprimerie nationale de France, le Type Museum de Londres doit être préservé et mis à disposition du public et des spécialistes du monde entier. Nous engageons les autorités culturelles et politiques du Royaume Unis à entreprendre toutes les démarches pour que ce patrimoine reste vivant et accessible pour les générations futures, les typographes et les passionnés du Livre.
Andréas Schweizer
Conservateur
Maison du patrimoine industriel et des arts graphiques
25 rue du Vuache
1201 Genève-Suisse |
| 678 | Kimberley Vousden | As a graphic design student I was one of the lucky few to visit the museum while it was still open, albeit once a month. It was a truly fascinating experience and vitally important for my understanding of printing and design history, especially seeing everything in working order.I can't think of anywhere else this is possible. Since, many people I have met have expressed bitter disappointment in being prevented from this experience this since the Type Museum's closure. Going into storage will mean no one will ever benefit from the collection in a meaningful way. |
| 679 | Mike Day | |
| 680 | Frank Roper | |
| 681 | Jacques André | |
| 682 | Alex Gulphe | |
| 683 | rennes | Culture has a cost, as necessary as security. Both of them participate of the human comprehension and allow his development and possibility of evolution. |
| 684 | Jeremie Hornus | |
| 685 | Helen Ingham | |
| 686 | Alan Brignull | This museum is of international importance, I would be ashamed of my country's short-sightedness if it were to be closed. |
| 687 | robinet sylvain | |
| 688 | CHAMPENOIS | |
| 689 | Jean-Baptiste Levee | |
| 690 | Kristina | Sign the petition |
| 691 | Christophe Depuidt | |
| 692 | Rebecca French | most visitors to the V&A and the Science Museum are tourists who more often than not, will not understand the importance of typography. Art students of all kinds need this resource and to have put in storage is a pretty depressing thought. |
| 693 | Banik | Nice site bankruptcy [URL=http://svitylko.1gb.in/index.html]bankruptcy[/URL] |
| 694 | Pierre Vinet | |
| 695 | Anonymous | |
| 696 | walusinski Pierre | |
| 697 | Margaret M. Smith | Chairman, Printing Historical Society |
| 698 | Sylviane Rucheton | |
| 699 | Simon Rothwell | |
| 700 | William Bowles | The dismemberment of the Type Museum's collection is absolutely typical of this government's disregard for one of the most important collections we possess, reflecting as it does, the revolution that movable type made possible. |
