December 20, 2005
Luc Devroye
The Inland Type Foundry
...
¶
The Inland Type Foundry in Saint Louis was established in 1892
by the three sons of Carl Schraubstadter
(1827-1897), William
A. Schraubstadter (1864-1957), Oswald Schraubstadter (1868-1955) and Carl Schraubstadter, Jr. (1862-1947).
Carl had run the Central Type Foundry in Saint Louis
and sold it to ATF (American Type Founders) in 1892,
and the sons reacted by setting up Inland.
Until 1911, Inland was one of the most successful
foundries in the United States.
In 1911 Inland was purchased by ATF and its
equipment divided between that foundry and Barnhart Brothers
and Spindler (BBS).
¶
The sources for this text include an
article by James Eckman
in PAGA, vol. 8, pp. 31-52, 1960, entitled
The Inland Type Foundry, 1894-1911,
and an annotated list of typefaces in Mac McGrew's famous book,
American Metal Typefaces of the Twentieth Century
(1986, Oak Knoll, New Castle, DE)..
History
¶
This page tries to describe most typefaces published
by Inland. One should be aware that there was a lot of overlap
between most foundries in that period, a situation we are
familiar with even today.
Type from 1894
¶
Woodward, a variation of
De Vinne, and named for William H. Woodward, one of the earliest
job printers in Saint Louis, was issued in August 1894.
Designed by William A.
Schraubstadter, other versions followed
over the next few years.
Woodward, Condensed Woodward (by Werner), Extended Woodward (by Werner)and
Poster Woodward all were patented in 1897.
BBS reissued Woodward and Woodward Outline as DeVinne Recut and DeVinne
Recut Outline.
Type from 1895
¶
From Eckman: The first specimen book of the Inland Type Foundry was issued
early in 1895. A paper-bound book of ninety-six pages, it exhibited
such standard faces as Miller & Richard's Tudor Black, and also
Caledonian italic, Modern italic, French Old Style and Modern and
Old Style faces.
¶
Caledonian Italic is Marder and Luse's Law Italic (1870) which became
ATF's Law Italic No. 520 and was also copied by Hansen as Barrister Italic.
It was, like many other faces in the early Inland collections,
not very original. McGrew about all these versions of Law Italic:
Law Italic is said to have originated as an imitation of formal styles of
penmanship used for legal documents. The most common of several substan-
tially different varieties is ATF's Law Italic No. 520, which originated with
Marder, Luse about 1870. Several of the capitals are swash-like, while lower-
case fandg have distinctive shapes. It has long thin serifs and sharp contrast
between thick and thin strokes. Inland called the same design Caledonian
Italic, Hansen had Barrister Italic.
Monotype's Law Italic No. 23 is a sloped roman, somewhat similar to
Ronaldson. Other Law Italics are obsolete.
¶
A supplement to the Inland specimen book
of this year shows the first real Inland originals:
¶
The 1895 catalog shows also Condensed Tide Gothic No.
2, Condensed Gothic No.4, 48-point Tudor Black,
Sheridan Antique, Gothic No.6, Title Gothic, Title
Gothic Slope, Condensed NO.1, Condensed No.2, Condensed Title No.2, Schwabacher,
German Full Face, Condensed German NO.1, and New Art ornaments.
¶
Gothic No. 6 deserves a special mention.
Monotype used it widely before the proper advent of sans faces.
Baltimore Type copied the face and called it News Gothic.
Type from 1896
¶
Studley was named for Robert P. Studley,
the first user of lithographic presses in Saint Louis.
It was said to be only a modification of Woodward.
Extended, Condensed, and Extra Condensed versions would follow within four years.
While Inland claimed this was original work, McGrew claims that it was just a copy of Quentell/Taylor Gothic/Globe Gothic.
McGrew in general shows little trust in Inland and denounces
its claims of originality in many cases.
Eckman laments Inland's
aggressive salesmanship and bullying tactics.
¶
McGrew about Studley:
Globe Gothic is a refinement of Taylor Gothic, designed about 1897 by ATF at the suggestion of Charles H. Taylor of the Boston Globe, and used extensively by that paper. But Taylor Gothic has mostly the same lowercase as Quentell, though with hairlines heavied a bit. ATF's Central Type Foundry branch in St. Louis claims to have originated Quentell (q.v.) in 1895 or earlier. The conversion to Taylor Gothic was designed by Joseph W. Phinney, while the redesign as Globe Gothic in about 1900 is credited to Morris Benton. It is a serifless, thick-and-thin face, distinguished by the high crossbar on E, F, and H. The angular end on the stems of V, W, and most lowercase letters. Globe Gothic Condensed, Extra Condensed, and Extended were designed by Benton about 1900. Globe Gothic Bold and its italic are also credited to Benton, in 1907 and 1908 respectively. But Frederic W. Goudy, in the book on his typefaces, says, "This type (Globe Gothic Bold), drawn at the suggestion of Joseph Phinney, followed in the main certain points which he wished brought out. It never had much vogue and is the least satisfactory (to me) of all my types." This is puzzling, as the bold departs somewhat from the style of the lighter weights, but is not at all characteristic of Goudy's work-nor of Benton's, for that matter. Studley of Inland Type Foundry was similar. Compare Ryerson Condensed, Radiant, Matthews, Pontiac, World Gothic.
¶
¶
Other faces from 1896:
Footnote: In 2008, Jeff Levine created Bayview JNL, based upon Studley.
Type from 1897
¶
In 1897, Inland issued MacFarland,
not an original face.
Eckman: Inland cast and sold it by arrangement
with Genzsch & Heyse, of Hamburg, Germany, which I
called the face Römische Antiqua. The A. D. Farmer & Son Typefounding
Company brought out a similar face they named Bradford
after the colonial printer. Inland's naming of it was in honor of J.
Horace MacFarland, proprietor of the Mount Pleasant Press in
Harrisburg, Pennsylvania.
¶
McGrew states that MacFarland was cut in 1899. He also
reports that other copycats include Hansen's Crawford,
Keystone's Dickens (which is a bit lighter; known as Classic on Linotype, but 18-point Classic Italic is the equivalent of MacFarland Italic (so McGrew says)),
and Lorimer.
McGrew goes on:
The Inland faces, along with Condensed MacFarland designed and cut in 1903,
went to ATF when that foundry acquired Inland in 1912. The faces have some
relationship to Elzevir or French Old Style, but are heavier, though not as
heavy as the related De Vinne series. Lacking the eccentricities of some
characters of DeVinne, these faces became popular for book titles and other
work for which DeVinne was considered unsuitable.
¶
The extensive 1897 catalog shows of course other typefaces
as well, some older and more established:
Roman No. 20, and are interrupted on pp. 56-63 by showings of Caledonian italic, Modern italic,
French Old Style,
Modern Roman,
Modern italic,
Extended Old Style,
Kelmscott, Ratdoldt,
Saint John initials,
as well as type made by others: Condensed Gothic No.4 (made by the Standard Type Foundry of
Chicago) and cast cuts made by the Pacific States Type Foundry.
¶
On the Kelmscott family, a copy of Jenson Oldstyle,
McGrew writes:
Jenson Oldstyle, though a comparatively crude face in itself, did, much to start the late nineteenth-century move toward better types and typography. Designed by J. W. Phinney of the Dickinson Type Foundry (ATF) and cut by John F. Cumming in 1893, it was based on the Golden Type of William Morris for the Kelmscott Press in 1890; that in turn was based on the 1470-76 types of Nicolas Jenson. Morris had established standards for fine' printing, in spite of the fact that he did not design really fine types. Serifs in , particular are clumsy, but the Jenson types quickly became popular. BB&S introduced Mazarin in 1895-96, as "a revival of the Golden type, redesigned by our artist." But it was a poor copy, and was replaced by Morris Jensonian. Inland's Kelmscott, shown in 1897, was acquired by BB&S and renamed Morris Jensonian in 1912; Keystone had Ancient Roman (q. v.); Crescent Type Foundry had Morris Old Style,. Hansen had Hansen Old Style (q. v.); and other founders had several other faces, all nearly like Jenson. It is hard to realize that Jenson was inspired by the same historic type as the later and more refined Centaur, Cloister, and Eusebius. ATF spelled the name "Jensen" in some early specimens, and added "No. 2" to the series, the latter presumably when it was adapted to standard alignment or when minor changes were made in the design. Jenson Italic was introduced at the same time as the roman. ATF advertised Phinney's Jenson Heavyface in 1899 as "new and novel-should have been here long ago." Jenson Condensed and Bold Condensed were introduced in 1901.
Type from 1898
¶
Brandon
is a thick-and-thin title face, similar to Engravers Roman, designed by Nicholas J. Werner and introduced by Inland Type Foundry in 1898. It was named for a printer in Nashville, Tennessee. Like a number of other such faces, it has no lowercase but was cast in several sizes on each of several bodies so numerous cap-and-small-cap combinations could easily be made. This style was popular for stationery and business forms. Hansen called the face Plate Roman. On Linotype and Intertype Bold Face No.9 is essentially the same face but a little narrower; typesetters not infrequently call it Engravers Roman. There was also a Brandon Gothic, cut only in two small 6-point sizes, which was similar to Combination Gothic, but with a letterspaced effect. (McGrew).
Type from 1899
¶
In 1899, Inland negotiated with H. W. Caslon &. Company of
London for exclusive rights to the casting and
sale of Caslon types in America. Caslon Text was offered by Inland
in January 1899,
and Caslon Old Style roman was ready for sale by Inland in August
of 1900.
Caslon Old Style italic was introduced
in September of 1901.
McGrew situates Caslon Text:
Caslon Text originated with William Caslon in 1734. Inland Type brought
out a reproduction of it in 1899 as part of their agreement with the Caslon
Type Foundry in England. It later became the property of ATF, and was
copied by Linotype. Being handcut originally, it shows the expected varia-
tions from one size to another, but some characters show decidedly different
forms in some sizes. See Cloister Black and Engravers Old English, which are
derived from this face.
¶
The competition and the posturing around Caslon in 1900 and 1901
is vividly captured by this excerpt from McGrew:
[...] Meanwhile, a prominent New York printer, Walter Gilliss, had promoted
the adoption of Caslon for setting Vogue magazine, a fashion and art journal
which was started in 1892, and the face quickly returned to popularity. A. D.
Farmer & Son copied the face under the name Knickerbocker Old Style.
But this was the time when standard alignment was being heavily
promoted, necessitating the shortening of descenders. Inland Type Foundry, St.
Louis, advertised its own version of Caslon Old Style in 1901, with the claim,
"We have obtained the sole right from the originating house to manufacture
this series in the United States. Inland is the only type foundry which casts
this face on standard line. ..." This meant that they had considerably
shortened the descending letters; they had also redesigned the italic extensively.
ATF countered with Caslon No. 540, with similarly shortened descenders but
essentially the original roman and italic designs otherwise. Several other
foundries, including BB&S, Hansen, and Keystone, produced similar
Caslons.
¶
Other types from 1899:
Type from 1900
¶
Blanchard, Blanchard Italic
and Condensed Blanchard (1901)
are not my favorite faces. McGrew:
It is one of the many display letters with irregular edges
produced around the turn of the century for use where strength, boldness, and an
effect of solidity were wanted.
Only the italic and condensed forms seem to have survived long enough to
be included in ATF's inventory of matrices when numbers were assigned.
Compare Ben Franklin, Buffalo, Roycroft.
¶
Courts was another face issued in 1900.
¶
Corbitt (1900, Nicholas J. Werner) and
Condensed Corbitt (1902):
heavy, thick-and-thin face with tiny serifs.
Type from 1901
¶
Inland Copperplate
is a shaded Old English typeface, similar to Typo Text.
McGrew about its originality: Typo Text was first shown by ATF as Tiffany
Text in 1901, although this may be the same face shown by Bruce Type
Foundry as Invitation Text a short time earlier, just before that foundry
merged with ATF. Hansen copied it as Card Text. Also see Plate Text, Inland
Copperplate.
Type from 1902
¶
Hearst, named for William R. Hearst, the
newspaper publisher, was introduced as the latest face, original and
attractive character. What a lie that turned out to be!
Goudy himself complained about
a theft of his creations.
¶
As Eckman tells the story:
Hearst elicited a protest from Frederic W. Goudy, who
recounted how, during his Chicago career, he had done some lettering
for an edition of Mother Goose illustrated by W. W. Denslow.
"To my surprise, a little later on, the Inland Type Foundry of Saint
Louis, without consultation with me, brought out a new type copied-
not inspired-from my Denslow lettering, and added insult
to injury by naming it Hearst." By February of 1903, nonetheless,
Marshall Field & Company of Chicago had adopted Hearst as
a display face in its advertising material.
Hearst does have some ideas from Goudy's Pabst and Powell faces,
but it has a larger lowercase, with short
ascenders and descenders.
¶
Hearst Italic appeared in 1903.
Similar faces elsewhere: Avil, Pabst, Plymouth, Post Oldstyle, Powell.
Other faces from that year:
Type from 1903
¶
Edward Everett Winchell was the art
director of the Matthews-Northrup Printing Works of Buffalo, New
York. He designed Winchell,
a bold and forceful letter (Eckman cit.),
which was one of Inland's most popular designs,
long after the Inland Type Foundry even ceased to exist.
It vied for popularity with ATF's Cheltenham.
¶
McGrew rates it as follows:
It is a bold, thick-and-thin display face, but
more like a nineteenth-century design, with some characters seeming to be
poorly proportioned or having awkward shapes. These faults are less noticeable
in Condensed Winchell, introduced by Inland the following year, but
patented by William Schraubstadter in 1905. Neither is a distinguished face
by later standards. Compare John Hancock, Bold Antique.
Type from 1904
¶
In 1904, Inland continued with some imitations, its main type
of that year being Kenilworth,
an imitation of Cheltenham Oldstyle.
Lowell is another similar typeface.
¶
Other typefaces from 1904:
Type from 1905
¶
1905 started out with another boast by Inland,
which by now had a reputation for aggressive advertising.
They wrote:
The Webb Series is the only outline face correctly cut. Outline faces
have been made, but they were produced by taking an existing heavyface
and cutting out the center. Such outline faces are always unsatisfactory
in appearance and are always weak in color. Not only is the Webb of a
new, striking and handsome design, but it was designed and engraved ~
especially for an outline face. Its companion face, the Foster, while of the
same general design, was separately engraved.
¶
Foster got clobbered by McGrew's review:
Foster is a heavy square-serif letter, patented and probably designed by
William Schraubstadter and introduced by Inland in 1905. It seems rather
crude by later Stymie standards-even compared with the earlier Boston
Breton-particularly for the narrow G, the wide J, the high-waisted B, P, and
R, and several other unusual letters. Condensed Foster, introduced by the
same foundry in 1908, is comparable. See Webb for the outline version of the
same design.
The outline version Webb was patented in 1905 by William Schraubstadter, probably the
designer.
Condensed Webb appeared soon thereafter.
¶
Other designs:
Type from 1906
¶
Blair was advertised in 1900 by Inland Type Foundry as new and original:
an exact imitation of the small gothic letter now so popular with
engravers for stylish stationery.
It is similar to Copperplate Gothic Light, but has no tiny serifs.
Litho Gothic is the same design but with lowercase.
Mitchell (1906), according to McGrew, a plain, wide gothic,
is similar to Blair but slightly heavier.
Blair became very popular, and was produced by ATF until the 1950s.
The condensed version of Blair was produced in 1903 or earlier. Hansen copied
Blair as Card Gothic No.2. Lightline Gothic is similar to Blair.
¶
Heavy Caslon. Ludlow copied it as
Caslon Old Face Heavy in 1925 and Intertype in 1937. Ludlow has a compan-
ion italic, while Intertype's italic is a sloped roman design. Caslon
Shaded. comparable face is Caslon Shaded, which
was adapted by ATF from Heavy Caslon in 1917 by W. F.
Capitaine.
Type from 1907
¶
Litho Roman became another Inland succes.
A number of variations followed during the next four years:
Condensed Litho followed in 1908,
Bold Litho and Light Litho in 1909,
and Compressed Litho
and Title Shaded Litho in 1911. When Inland
merged with ATF in 1912, all these faces ended up in the
ATF catalog of that year.
¶
Other faces of 1907 include
Shaw Text, Condensed Caslon,
Hammond Typewriter,
Recut Caslon (see earlier
negative comments about it by McGrew
and contrast it with the cocky advertising from
Inland:
Recut Caslon as made by the Inland Type Foundry, is
probably what the great typefounder, Caslon I, would have cut had he
lived in the twentieth century instead of the early part of the eighteenth)
and Title Litho Roman.
Once again, McGrew cannot resist a poke:
Shaw Text was introduced by Inland Type Foundry in 1907 as its "latest
novelty," although it is a rather conventional Old English face, a little heavier than Wedding Text, and a little lighter and fancier than Engravers Old
English. After Inland merged with ATF, Shaw Text continued to be shown
until 1954. Compare Plate Text.
McGrew writes: They are intended to imitate a style of lettering
popular with lithographers in the days when lettering and designs were
carefully drawn on lithographic stones. This process was especially in demand for high-quality stationery and announcements. The original Litho
Roman is rather heavy, with fine hairlines. Serifs on heavy strokes are
slightly filleted, while those on hairlines are heavy triangles. The ear of the g
starts straight up from within the bowl, and in some series the tail of the cap
R is not quite connected to the bowl.
Title Shaded Litho, introduced by Inland in 1911, features horizontal
shading, rather than the diagonal shading of almost all other such faces.
Several versions have a title series, lacking lowercase and otherwise
larger on the body, except in 6-point where caps are identical in the larger
sizes but with additional smaller sizes. In 1917 two of these title series were
modified by Morris F. Benton and reissued as Card Litho and Card Light
Litho. The latter became the last survivor of the family, being shown by ATF
as late as 1979 specimens. However, the Monotype copy of Light Litho may
still be available elsewhere.
Litho Light and Litho Bold were issued by Ludlow in 1941.
They are
essentially the same as Title Light Litho and Title Litho Roman (no lowercase), but the tail of the R connects and the lower end of the C does not turn
inward, although an alternate C matches the foundry letter.
Rimmed Litho is basically the same design, including lowercase, but with
a fine line surrounding each character.
Compare Engravers Roman series; Masterman.
Type from 1908
¶
Underwood Typewriter, for which punches were supplied by the
Underwood Typewriter Company, was the main typeface that year.
Type from 1909
¶
Alfred was named for Frederick Alfred, secretary of the J. W. Pratt Company of New York City.
It was patented by William A. Schraubstadter in 1910.
McGrew draws the connection with the well-known face Adcraft:
Adcraft. The three weights shown by BB&S in 1927 under this name
were assembled from three different sources. While they are acceptable as
family members, their resemblance to each other is merely co-incidental and
not as pronounced as in most families. The unifying feature is their rugged or
irregular shape, a popular style of the time.
¶
Other faces of that year:
Condensed Title Star Gothic,
Condensed Title Herald Gothic and
a series of ornaments based on art nouveau designs by Aubrey Beardsley.
McGrew draws some compoarisons:
American Extra Condensed is a medium weight gothic, popular
for newspaper headlines, and was designed about 1905 but adapted from a
late nineteenth-century style. It features 45-degree angles where curves
would normally appear. Without the lowercase, similar designs were better
known as Chamfer Condensed (q.v.) or Herald Extra Condensed, the latter
introduced by Inland in 1909.
Compare Avil, Drew.
Type from 1910
¶
The typefaces of 1910 include:
¶
Litho Antique is a story by itself as it too became sucessful
as one of the ancestors of a family of Egyptian typefaces. The text below
is all from McGrew, who first tells how Rockwell Antique and then Stymie
Bold were derived from Litho Antique.
¶
Rockwell Antique was a reissue of Litho Antique, cut by William
Schraubstadter for Inland Type Foundry and introduced in January 1910,
when it was advertised as the "newest typeface; one of our best; closely
imitating steelplate and lithography." In the late 1920s similar faces became
popular in Europe, and some were imported into the United States. Morris
Benton of ATF added several characters to the old Inland face, matrices of
which were then in ATF's vaults, and it was reissued in 1931 as Rockwell
Antique. But Benton saw that something more was needed, and redrew it as
Stymie Bold (q.v.) in the same year. The alternate characters which were
added to Rockwell are the same ones now shown with Stymie Bold.
Monotype copied Rockwell but erroneously called it Stymie Bold in some
literature, and there has been confusion between the two faces ever since; the
latter name is often applied to fonts of Rockwell cast on Monotype machines
by secondary suppliers. Indicative of this confusion, Stymie Bold Italic on
Mono is series 1891, corresponding to Rockwell series 189, while Stymie Bold
is 790.
English Monotype has several weights of Rockwell, a square serif family
which differs from this face and should not be confused with it; see Imports in
Appendix.
Antique Shaded (q. v.) is sometimes called Rockwell Antique Shaded.
¶
Stymie Bold is a redesign of Rockwell Antique (q. v.), which in turn was a
reissue of Litho Antique, introduced by Inland Type Foundry in 1910. Rockwell appeared in 1931, but Morris Benton redesigned it as Stymie Bold in the'
same year, refining some characters and generally tightening the fit. Stymie:
Light and Medium and their Italics were also drawn by Benton in 1931, and:
the series quickly became very popular. Stymie Bold Italic followed a bit
later. '
Elongated Ascenders and Descenders for Stymie Light, Medium, and Bold
are a whimsical idea borrowed from the Parsons series (q.v.). Eleven characters as shown are offered for each weight from IS-point up, but there are
actually only nine different characters, with an extra band d in each set to
invert for p and q. The ascenders are cast to proper alignment for reasonably
easy use, but the descenders must be carefully justified vertically. They were
short-lived.
Monotype exercised its option to copy ATF faces soon after the introduction of these faces-too soon, in fact, because they copied Rockwell and in
some literature called it Stymie Bold, and there has been confusion between
the two faces ever since, with some Monotype users applying the latter name
to the older face. The actual Stymie Bold was duplicated by Monotype about
1936. But Monotype also did its part in expanding the family; Sol Hess
designed Stymie Extrabold in 1934, a year before Morris Benton drew Stymie
Black. These heavy versions differ slightly from each other and from the
lighter faces; it's a matter of opinion as to which is more compatible with
other Stymies.
Sol Hess and Monotype also produced Stymie Light Condensed, Medium
Condensed, and Extrabold Condensed, in 1935 and 1936. Gerry Powell drew
the last major member of the family in 1937, with Stymie Bold Condensed,
which departs a little more than the others from family characteristics. Trials
of a medium condensed version at ATF were abandoned in favor of Tower
(q.v.). Along the way Powell had also engineered the production in 1936 of
Stymie Light Title and Stymie Medium Title, all-cap versions of their respective weights with several sizes cast on 6- and 12-point bodies in the manner of
Copperplate Gothic.
But there is more to the Stymie story. Shortly after the introduction of the
family, perhaps as early as 1932, ATF undertook a program of producing type
in extra-large sizes. Some of the Stymies were cast up to 144-point, along with
a number of other designs, but even that was not enough. Stymie Compressed
was cast in 288-point from drawings by Wadsworth A. Parker, head of the
ATF specimen department. This is believed to be the largest complete font
ever cast in regular type molds. However, apparently there never was a 288-point mold. Instead, all characters are designed to cast the long way in
smaller molds, from 30-point for the I to 144-point for the W, each 288 points
"wide." Round letters were virtually flush to the edges of the body-4 inches
high! Fonts included capitals, figures, and ampersand, with an undersize
dollar mark on 120-point body; for punctuation marks the foundry recommended using available sizes of Stymie Bold or Medium. One type each of all
38 characters weighed about 47 pounds, and sold originally for $28.05. The
cap W alone weighed about 2 pounds!
Stymie Stylus, the second largest type font, followed. It is an experimental
font, with each character including lowercase cast on the minimum body with
no unnecessary metal. There are five different body sizes in the one font,
ranging from 96-point for lowercase letters without ascenders or descenders
to 180-point for caps and 204-point for lowercase j. Like the previous face,
these characters were cast sideways in smaller molds. Specimens said, "The
letters justify quickly with point spacing material." This specimen has type
bodies indicated for several letters. !?) were the only punctuation marks. And
apparently this was the last of the giant faces produced.
Stymie Inline Title was designed by Parker about 1931; it follows the basic
Stymie Bold pattern but is cast full face, without lowercase. ATF literature
lists a Stymie Open, but no specimen or other evidence of it has been found.
Stymie Intaglio Figures are the Stymie Bold design reversed on black
squares. Stymie Bold Open as offered by Baltimore is a copy of Beton Open
from Germany, while Baltimore's Stymie Bold Open Condensed is a modifica-
tion by pantagraph of the same face, offered in 1948. Stymie Shaded or
Rockwell Shaded as offered by some secondary sources is Antique Shaded
(q.v.). ATF offered alternate, condensed figures for Stymie Bold, but these
were actually Foster Condensed (q.v.), with only a general similarity.
Sixty-point Litho Antique as cast by Inland was oversize by about 5 points.
This peculiarity is carried over into members of the Stymie family-even on
Monotype. But in some versions of ATF Stymie, 60-point after a time was
replaced by 66/60-point, wherein descenders are cast on the larger body.
Compare Beton, Cairo, Karnak, Memphis.
Type from 1911
¶
Inland was absorbed by ATF in September 1911. Typefaces in their last year include
¶
So, what happened to all those types?
Many matrices came into the hands of BBS,
as McGrew confirms: In the 1925 catalogue that company displays
scores of Inland ornaments, cast cuts and other material, most
of them still bearing the original Inland serial numbers. The old Inland
Palmer script of 1899 reappears in the Barnhart catalogue as
Stationers Semiscript 1863; the Alfred series of 1909 emerges in
the Barnhart specimen book as Adcraft Medium 1502; the Inland
Kelmscott series became Barnhart's Morris Jensonian 1790; and
Edwards, an Inland face of 1897, reappeared as Barnhart's Bizarre
Bold 1548.
¶
Other Inland faces, such as Saint John, Comstock, Blair, Brandon,
Pen Print and Pen Bold, MacFarland, Matthews, Studley,
Hearst, Blanchard italic, Webb, Foster, Caslon Oldstyle roman and
italic, Condensed Gothic NO.1, Oldstyle italic No. 20, Oldstyle
No.9 roman and italic and Roman No. 20, went to the American
Type Founders Company, where the matrices for all are still preserved.
The American Type Founders Company enlarged the Pen
Print series, and the Intertype Corporation in 1927 issued Pen
Bold in sizes from 10 to 36 points.
Author
Luc Devroye
School of Computer Science
McGill University
Montreal, Canada H3A 2K6
lucdevroye@gmail.com
http://cg.scs.carleton.ca/~luc/index.html
http://cg.scs.carleton.ca/~luc/fonts.html