TYPE DESIGN INFORMATION PAGE last updated on Wed Apr 16 05:54:48 EDT 2014
Articles on type design written by Luc Devroye
A sad story of how Adobe misled the world about the origins of Robert Slimbach's Cronos family, which was modeled after Kuester's Today Sans Serif, available from Mannesmann-Scangraphic. [Google] [More] ⦿
Description of the main type work at the Academy of Graphic Arts in Stuttgart. The big names there were Walter Brudi, J.V. Cissarz, F.H.E. Schneidler and Walter Veit. From 1920-1948, F.H.E. Schneidler was head of the graphics division of the Akademie der bildenden Künste Stuttgart.
Some stencil alphabet by them (ca. 1930), and later digitized by "Mindofone" as free art deco stencil typeface Glas Deco (2012). Other examples [taken from the book Handsatzschriften des Instituts für Buchgestaltung an der Staatlichen Akademie der bildenden Künste Stuttgart von Walter Brudi, J.V. Cissarz F.H.E. Schneidler und Walter Veit include Veit Antiqua (Walter Veit), Brudi Mediaeval, Brudi Kursiv and Pan (Walter Brudi), Cissarz-Latein.
The following typefaces are by F.H.E. Schneidler: Amalthea, Bayreuth, Buchdeutsch Zierbuchstaben, Buchdeutsch, Deutsch Roemisch Fett, Deutsch Roemisch Kursiv, Deutsch Roemisch, Die Zierde, Ganz Grobe Gotisch, Graphik, Halbfette Buchdeutsch, Halbfette Deutsch, Halbfette Schneidler Schwabacher, Juniperus Antiqua, Kontrast, Legende, Schmalfetten Gotisch, Schneidler Antiqua, Schneidler Fraktur Zierbuchstaben, Schneidler Mediaeval Halbfett, Schneidler Mediaeval Kursiv, Schneidler Mediaeval, Schneidler Schwabacher Initialen, SSchneidler Untergrund, Schneidler Werk Latein, Schneidler Zierat, Schneidler, Suevia Fraktur Initialen, Zentenar Fraktur Halbfett, Zentenar Fraktur, Zentenar. [Google] [More] ⦿
Swedish painter, poet, scholar, publisher, typographer and type designer (b. Stockholm, 1884, d. Stockholm, 1949) who designed fonts at Klingspor such as Kumlien (1943), Kumlien Bold and Kumlien Antiqua. Tjörbjörn Olsson created interpretations such as KumlienMM (1993) and Kumlien-Initialer (1994). The fist major digital revival and extension came in 2011 at Canada Type, where Patrick Griffin and Kevin King designed the Kumlien Pro family.
Bror Zachrisson penned Akke Kumlien: 1884-1949 in PAGA, volume 1, number 3, pp. 45-56, 1953. Kumlien studied the history of arts and literature at Uppsala University, which later bestowed on him an honorary doctorate. He was also the founder of the Institute for Research of Materials at the Royal Academy of Arts in Stockholm, the head of the Thiel Gallery's well-known art collection, and the main artistic consultant at P. A. Norstedt&Sons, the royal printing house. His Kumlien transitional face was the first major Swedish-designed typeface in over a hundred years. Specimen.
Author of Bokstav och ande (The Letter and the Spirit: 1948), and Kunstneren og bokkunsten (Artist and Book Art).
Stanley Davis is the designer of the well-known font Amelia (1964), a winner at an international type competition run by Visual Graphics Corporation (VGC). In this article, we investigate why Stan is mad at Linotype and Bitstream (in his words: [...] Bitstream and Linotype have stolen my Amelia font [...] their renditions of it are pathetic). A comparison is made between these fonts: A770Deco (SoftMaker Software GmbH) [true to the original, a feature of most of the SoftMaker collection], BarbarellaSF (Brendel Informatik&SoftMaker Software GmbH, 1990-1993), PerkleDisplaySSi (Southern Software, Inc, 1992), AmeliaBT-Regular (Bitstream, 1990-1992), LinotypeAmelia (Linotype*Hell AG, 1997), and Amy (Corel, 1991). Stan is in favor of strengthened copyright protection to avoid this sort of thing. [Google] [MyFonts] [More] ⦿
Report by yours truly of the 45th ATypI meeting held in Copenhagen from September 20-23, 2001. Dean Allen's report. Programme and CVs of the speakers. John Berry's report. Joachim Müller-Lancé's report. Report by Chester of Thirstype. [Google] [More] ⦿
Report by yours truly of the 46th ATypI meeting held in Rome from September 19-22, 2002. Bread and circuses: on-line report by Mark Barratt and Ben Weiner. From an ATypI Board's member: John Berry's report. Jill Bell's pictures. Joachim Müller-Lancé's picture report and text report. Jef Tombeur's report (in French). Michail Semoglou's report. Luciano Perondi's report (English version). [Google] [More] ⦿
ATypI 2004 was held in Prague from 30 September-3 October 2004. ATypI's own newsletter. Report by yours truly. Picture report by yours truly. Pictures by J.-F. Porchez. More pictures by J.-F. Porchez. Report by Dan Reynolds. Pictures by Richard Kegler. Laurence Penney's pictures. Pictures by Ryan Pescatore Frisk. Report by John Berry. Pictures by Letterror. Pictures by Diederik Corvers. Tony De Marco's pictures. Lettering in Prague by Robert Kravjanszki. Ilya Ruderman's extensive picture report (in Russian), continued here. Vera Evstafieva's report of the Type Tech Forum (in Russian). Pictures by Erik Van Blokland. Report and pictures by Andrzej Leraczyk. Report and pictures by Filip Blazek and Pavel Zelenka. [Google] [More] ⦿
ATypI 2006 was held in Lisbon, Portugal, from 27 September-1 October 2006 on the theme Typographical Journeys. Mario Feliciano was the main organizer. Luc's report. Picture report by Dan Reynolds. One by Jean-Baptiste Levée. Pictures at Flickr. Pictures by Dan Rhatigan. Van Lancker's pictures. A French report with pics by Jean-Baptiste Levée. His pictures. General Flickr site. Pics by Rob Keller. Roger Black's pic of Spiekermann. Oleg Koshe's pics of Verena Gerlach's talk. Tagir Safaev's pics of the newspaper design track. Oleg Koshe's pics of Massimo Vignelli and François Chastanet and Spiekermann's main talk. Comments and links by Dan Reynolds. Lisbon Letters by Jerrold Maddox (Penn State University). Oleg Koshe's report on Kindel&Smeijers. Brief report by Ana Sabino. Pictures by Birx. Henrique Nardi's shots. Ukrainian report (+pics) by Victor Kharyk. Pics by Protype. Pics by Vera Estafieva. Pictures by Iria Cunha (and many transparencies of talks). Yves Peters comments. letters.sdu (VinOlga, Annette) shows a collection of Lisbon street lettering images. See also the fontme site for Lisbon stree lettering. The student volunteers have their own photographs on Picasa: 1, 2, 3, 4, 5, 6. [Google] [More] ⦿
ATypI 2012 was held at Hong Kong Polytechnic University and Hotel Icon in Kowloon from 10-14 October 2012. The conference was hosted by the School of Design of the Hong Kong Polytechnic University. The main organizer was Keith Tam.
Bruce Type Foundry
Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.
Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. (2008, FontMesa) is a family of Western style faces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. [Google] [MyFonts] [More] ⦿
Stuttgart-based foundry established in 1827, and taken over by D. Stempel in 1970, which in turn became Linotype in the eighties. Their library included Druckhaus Antiqua (1919), Schadow Antiqua (1938), Weber Fraktur (1860) and faces by these designers:
C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. Poster by Naumann. [Google] [More] ⦿
Illustrator and poster designer in Chicago in the 1920s and 1930s, who lived from 1880 (b. Stockton, CA)-1972 (d. Des Plaines, IA). Many of the ornamental typefaces in the Barnhart Brothers&Spindler catalog of 1931, Typefaces : border designs, typecast ornaments, brass rule: selective specimens of preferred matter, are due to Junge. He designed Caslon Italic Specials and Swagger Capitals, which already appeared in the 1922 catalog of BBS.
Swagger Capitals was reworked by Nick Curtis in 2004 as Mazurka NF. And many ornaments were collected and digitized by Nick Curtis in Junge Holiday Cuts NF (2004). Swagger Capitals also inspired Pencraft (2010, Intellecta Design).
Mac McGrew: Swagger Capitals or Swagger Initials were designed by Carl S. Junge for BB&S in 1925. They are virtually monotone, with an elongated flourish on each of the letters, most of which are cursive in character. There are only twenty-four letters, without X or Z. The foundry promoted them as being usable as initials with various typefaces. [Google] [More] ⦿
Dutch letterer and calligrapher, 1568-1634 (or 1635). He published the calligraphic masterpiece Gramato graphices in Amsterdam in 1605. This book has several blackletter and chancery alphabets proposed by Boissens. Teaser web site by yours truly. [Google] [More] ⦿
Dead History (Emigre: Scott Makela, 1990, redrawn "from scratch" by Zuzana Licko in 1994) has some characters that do not seem to be redrawn from scratch, as Emigre claims. It sure looks like they were borrowed from VAG Rounded (an Adobe font) and thrown in a font editor for a minor touch-up. [Google] [More] ⦿
Douglas C. McMurtrie
Douglas C. McMurtrie
A peek into Schriftgiesserei Emil Gursch Berlin: Gesamtprobe Schriften Ornamente Vignetten Messinglinien (488 pages), one of Gursch's gorgeous specimen books. Emil Gursch was the main principal/owner of the Schriftgießerei Gursch in Berlin from 1866 until 1917, at which point the foundry was acquired by Otto Tech Berlin, an arm of H. Berthold AG. MyFonts link. [Google] [MyFonts] [More] ⦿
Eurocrat and Eurofart
In 2009, I decided to make Eurocrat, a Euro symbol font, according to the European specifications. I added various weights and an outline version, called Eurofart, to celebrate the hot air surrounding Europarliamentarians. Finally, there is also a single-official-glyph font, Euron. [Google] [More] ⦿
Los Angeles-based company that distributed a 5000+ library of two-inch film fonts for display faces, some of which were original, such as Yagi Double (the CNN logo font) and Yagi Link Double. It ceased operations in 1985. Trogman maintains a design studio in Palm Springs, California. Blippo (1970) and Handel Gothic (by Robert Trogman) are in that collection. And so is Buxom, a beveled 3-d athletic lettering typeface sold, e.g., by Elsner&Flake as Buxom SB (Scangraphic).
Yagi Link Double was revived by Alex Haigh as Miyagi (2008, Thinkdust). Yagi Bold and Yagi Double were revived in 2010 by Gus Thessalos as Retro Mono Wide and Retro Stereo Wide, rewspectively. Gus revived Yagi Link Double as Retro Stereo Thin.
FotoStar is a small web page made by yours truly that showcases some typefaces in the FotoStar collection taken from their catalog, Film Font Digest FotoStar Graphic Supply.
FOX complained that Graham Meade made a font called Buffied, which looks to much like the letters from the "Buffy the Vampire Slayer" television series owned by FOX. Graham counters that he made the font from scratch and that letterforms cannot be protected. In June 2000, Graham's web site was pulled by Fortunecity. Then Graham Meade called his font Rebuffed. But now, ironically, FOX itself is using new letters that are directly taken from Graham's Rebuffed font. But what can you expect from the network that brought TV down the gutter with Temptation Island? See also here. [Google] [More] ⦿
A personal opinion on the membership and conference fees for ATypI. After a Typophile discussion, ATypI's president, Mark Batty, lowered ATypI's membership fee for citizens of developing countries on February 18, 2003. A positive move! [Google] [More] ⦿
Author of Das Buch des Setzers (1948), an overview of the hand composition typefaces available by German type foundries at the end of World War II:
Swedish book printer and typographer, whose story is told be Douglas McMurtrie in The First Swedish Type Specimen (Chicago, 1933). He published Sweden's first type specimen book in 1691: "Någre få prooff. Hoos Henrick Keiser Kongl. Maytz: och Upsal. Acad. Booktryckiare Stockholm 1691". Only two copies of this specimen book remain, one in Stockholm, and one in Upsala, where Keiser was the University of Upsala printer. The type specimen book shows Fraktur, Schwabacher, music notation, Hebrew, Greek, Cursive, Antiqua, Roamyn and title capitals. Later on, Keyser became the royal printer. He died in 1699. Bio in Swedish. [Google] [More] ⦿
Imprimerie L. Danel was founded in 1698, as a successor of Imprimerie Fache, which existed in Lille since the early 1600s. It has remained a family business, and occupies two factories, one in Lille, and one in Loos. It appears that some original type was made by L. Danel over the years, although it cannot be said that such was the focus of the business. The Livret Typographique L. Danel (Lille, 1935) describes some of its history and typefaces. [Google] [More] ⦿
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 Schraubs 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). A.V. Haight (Poughkeepsie) designed Rogers (art nouveau) at Inland Typefoundry in 1902. He also designed Haight. Nicholas J. Werner, who used to work for Central, also created many designs at Inland. Look for "Specimen book and catalog, a price list of printers' supplies, showing types and rules in which are embodied all the latest styles ... among which ... may be especially mentioned the casting of types on standard line and unit sets." (1902, 464 pages), Specimen Book and Catalog. A Price List of Printers Supplies, Showing Types and Rules in which Are Embodied all the Latest Ideas that Enable the Printer to Produce Superior Work in a most Economical Manner Among which Betterments May Be Especially Mentioned the Casting of Types on Standard Line and Unit Sets (St. Louis, 1897) (a free copy is here and here) and Specimen Book and Catalog. A Price List of Printers Supplies, Type, Rules and Accessories of the Very Latest Designs which Facilitate the Economical Production of Superior Printing. A Notable Improvement Is the Casting of All Type on Standard Line&Unit Sets (St. Louis, 1907). MyFonts page.
Scans of some typefaces: Becker (art nouveau), Blanchard Italic [Blanchard was revived in 2013 by Paulo W as Blanchard Inland], Commercial Script, Edwards (art nouveau), Inland, Lightface Blanchard, Matthews, Extended Studley, Rogers (art nouveau), Poster French Oldstyle (1897 catalog), Poster Ionic (1897 catalog), Poster Latin Antique (1897 catalog), Pacific Bikes (ornaments, 1897 catalog), Recut Caslon (1907, as taken from the 1923 ATF catalog), Drew (1910, from the 1923 ATF catalog), Title Shaded Litho (1911), Litho Roam (1907), Gothic No.578 (1898), Pen Print (1911), Blair (1900), Comstock (1902), Inland Copperplate (1901), Shaw Text (1907).
Commentaries by Mac McGrew on some of the typefaces:
On October 23, 2002, Anna McCullough is alleged to have posted a bunch of Red Rooster (ITF) fonts on alt.binaries.fonts. ITF reacts by sending a letter (via their lawyers, Ballard Spahr Andrews&Ingersoll) in which they threaten to ask 22,500 dollars in damages ***per download***. Analysis and details in this web page. [Google] [More] ⦿
Prolific British author (b. 1917), who published, e.g., A suite of fleurons : or a preliminary enquiry into the history&combinable natures of certain printers' flowers (London : Phoenix House, 1956). Pictures, including cover page. This site has a font, Fleurons-A (based on A Suite of Fleurons by John Ryder, developed by S. G. Moye v1.6 July 14, 1991). [Google] [More] ⦿
A listing and comparison of various digital implementations of Koch's German expresionist Neuland typeface from 1923. Rudolf Koch chiseled an all caps face directly from metal and called it Neuland (Gebr. Klingspor). This experimental face has been copied and revived over and over again. It was even used as the face for Jurassic Park. A non-exhaustive list includes
Shown are some of the versions of Koch's Neuland. Indeed, there is no true "original", because each of Koch's type sizes comes with its own peculiarities (recall that each was cut directly in metal). The Linotype version, which is supposed to be the digital counterpart of the "original", is a bit too "clean". The Softmaker face, N691 Deco, is probably closer to Koch's original cuts, as most of Softmaker's historical faces aspire to be true revivals. However, only AI Neuland and FFD Neuland have the pointy M's that we find in the "Encyclopedia of Typefaces" of Jasper, Berry and Johnson, so go figure. The P22 face and Klein's face have K's with horizontal right upper arms and U's that hang together similarly, so they are in a category by themselves and one may well have inspired the other.
Agfa Creative Alliance designer Leslie Cabarga has the following thesis: all free fonts are either of poor quality or are in some way pirated. This is a disappointing view from a talented type designer. Clearly, there are top-of-the-line original free fonts out there made by the likes of Apostrophe, Nick Curtis, Manfred Klein, Petra Heidorn and Dieter Steffmann. On the other hand, Cabarga is right about the abundance of poor quality fonts (unfortunately, both free and commercial), and the proliferation of pirated fonts, renamed time and again, but the renaming is mostly done by commercial companies (often cheap CD vendors). The page used to be here. [Google] [More] ⦿
Libro di M. Giovambattista Palatino cittadino romano
This jewel of a book was published in 1550 by Antonio Blado asolano in Rome. It is now available on the web and contains of complete alphabets, from chancery scripts, to blackletter and roman. There are also Greek, Hebrew, Cyrillic, Syrian, Arabic and other alphabets. Selected pics to make you drool. [Google] [More] ⦿
More harassment in 2001 by Linotype lawyers for people who merely use the word Helvetica, a Linotype trademark. Linotype has to protect its trademarks, yet the military approach it takes with respect to your average internet user is not acceptable. I wrote this article in 2001. In 2007, I came across this link of equivalences with Helvetica: Pragmatica (ParaType), Crash (ParaType), Helvetica Neue (Linotype/2Alex), Helios (TypeMarket), AxxxxHelvetika (Tygra), Arial (Monotype), Artsans (.), Bastion (2Alex), BastionX (Unknown Soldier), Cyrvetica (SoftUnion), Encyclopaedia (!22!), Encyclopedia (Intermicro), Europa Grotesk (SC), Global Cyrillic (Global), NTHarmonica (IpexR), Hebar (Eurotype), Helga (Intermicro), Helios (Agfa), Helios Black (Anonymous), HelvCondenced (Vita BBS), HelvDL (DynaLab), Helvetica Y (Apple), AZ Helvetica (AzZet), Helvetica (Tilde), NTHelvetica (IpexR), Hylvetica (SoftUnion), Ladoga (MacCampus), AG Letterica (Tilde), Megaron (Tegra), NewhouseDT (DTP Type), Nimbus Sans (URW++), Nimbus Sans (URW++/Valek Filippov), Pragmatica (!22! Soft), Prague (N&L), PromtImperial (PROject MT), Swiss 721 (Bitstream), Swiss 721 (Bitstream/Tilde), Switzerland (Corel), Vanta (Intermicro), Vanta (!22! Soft), Sans (Anonymous, 1991 Font Collection), SvobodaFWF (Cassady&Green). Yet, in 2001, CybaPee was harassed by Linotype for using HelvAssim for a non-Helvetica font. This is not logical, and convinces me that the legal threats were selective, targeting the free font defenders. [Google] [More] ⦿
The lawyers' letters signed by N. Yilmaz continue to flow out of the Linotype offices to unsuspecting typographers such as Dieter Steffmann, Markus Wäger, Dirk Uhlenbrock and others, all claiming trademark violations, and asking for immediate payment of sums ranging from 300 to over 10,000 Euros. This page explains how Linotype itself is "interpreting" the law. German language page on the same topic by Cybapee. [Google] [More] ⦿
Linotype harasses Beaumont at Freelang.net and calls Times SudEuro, a Monotype font, the "intellectual property of Linotype". I am sure Monotype will like that. Linotype is asking an immediate 300 dollar payment from Beaumont for, among other things, posting that Monotype font. I believe that Lino's lawyer Yilmaz should be fired on the spot. [Google] [More] ⦿
McMurtrie: A Memorandum on Early Printing on the Island of Malta
Scans of an 8-page booklet by Douglas C. McMurtrie published in Chicago in 1936: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie. McGraw writes about Caslon Openface: Caslon Openface was originated by BB&S in 1915, where it was first called College Oldstyle. It started out as a reproduction of a delicate 18th century French face known as Le Moreau le Jeune, by the foundry of G. Peignot&Son, but in the American version some strokes are heavier. In a later ad, BB&S said, "Placing it in the Caslon group of types is taking a liberty, but it assuredly 'belongs.' " Actually it has somewhat more affinity for the Cochin types. Caslon Shaded was adapted by ATF from Heavy Caslon in 1917, by W. F. Capitain. Caslon Shadow Title was adapted from Caslon Bold by Monotype about 1928. Compare Cameo, Cochin Open, Gravure, Narciss. [Google] [More] ⦿
McMurtrie: The Didot Family of Typefounders
Stephen Coles claims that Memimas (by Joan Barjau at Type-o-tones) was knocked off by Westwind in its free font Little Days. He suggested that it would be considerate to remove Little Days (2001) from the Westwind archive. My page shows that this is an exaggerated claim and request. [Google] [More] ⦿
On July 12, 2005, plaintiffs Monotype and ITC bit the dust against defendant Bitstream, when the Judge Amy J. St. Eve in Northern Illinois found Bitstream not liable under any of the plaintiffs' claims of contributory copyright infringement, contributory trademark infringement, or infringement under the DMCA. The case was about Bitstream's TrueDoc and PFR software for embedding/porting fonts in web pages. [Google] [More] ⦿
A list of equivalent names for Palatino in the font world. And some more discussion on the rip-off of Zapf's font by the major foundries. This page also shows the original Palatino designed in 1948 at Stempel AG, and proves that all later versions, including Linotype's, are very different. [Google] [More] ⦿
Morgans&Wilcox Mfg Co.
American wood type manufacturer from the 19th century, set up in 1880 by William T. Morgans and H.K. Wilcox. The latter had taken over Young's shares at Young and Morgans Mfg Co., prompting a company name change. It was located in Middletown, NY.
Some digitizations can be found. See, for example, HWT Geometric (2013, James Grieshaber, Hamilton Wood Type Foundry). This is a squarish wood type family based on a design by Gustave F. Schroeder from 1881, as explained by HWT: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. Dick Pape designed AWT Morgans Wilcox Doric Cond in 2013. [Google] [MyFonts] [More] ⦿
Emil J. Klumpp's Murray Hill script font (ATF, 1956) has been imitated many times. This page shows some of the imitations by several major foundries. It was written as a reaction to a vicious attack on SnapFonts (a small new foundry) by John Butler, who claims that SnapFonts should not imitate MurrayHill [I do not think that John is writing URW, Bitstream, Elsner&Flake, Softmaker, Linotype, Image Club Graphics, or Berthold about removing their imitations]. [Google] [More] ⦿
French painter in Paris, who published many (painted) alphabets in Album du peintre en bâtiment (1882, ed. Ducher et Cie, Paris).
The captions of the alphabets, in alphabetic order: Lettres, Lettres à Boule Fantaisie, Lettres Antiques Monumentales, Lettres Bronze Fantaisie Penchées, Lettres Capitales Antiques, Lettres Capitales Fantaisie, Lettres Capitales Ornées, Lettres Capitales Penchées Fantaisie, Lettres Capitales Romaine, Lettres Capitalesa Gros Deliés, Lettres Demi Monstre Allongées, Lettres Demi Monstre Fantaisie, Lettres Egyptiennes Ou Baton Allongées, Lettres Fantaisie, Lettres Monstre, Lettres Renaissance à Boule Fantaisie, Lettres Romaine et Batarde, Lettres Types Divers. [Google] [More] ⦿
Piece by Luc Devroye about the lack of circles in font description languages. This was a pre-publication version of an article by the same title that appeared in Volume 1 of Pica Magazine (2009, pp. 88-91). [Google] [More] ⦿
A defect in the design of OpenType and in the way the Windows operating system handles it can cause a Windows crash. Read here exclusively how this could happen. A demo OpenType font is included, as well as instructions on how to change OpenType files to behave in this manner.
I have predicted the collective frustration of type designers with any type format that would demand too much technical input. One such format is OpenType, with its numerous tables that have to be adjusted. This effort turns off the true artists, the letter painters. A type designer friend, who will remain anonymous, wrote: I get the impression that OpenType has just begun troubling the type design world -- when Windows Vista and XPress will be published. Especially Windows seems to implement certain OT features differently than Adobe applications do, which means that Adobe will have to change their applications too, and font developers will have to update their fonts again. [...] I could imagine doing other things than keeping up with ever new developments which, unfortunately, don't improve anything. [Google] [More] ⦿
Designer of a set of curly baroque initials in Nürnberg in 1601, published in Schatzkammer. Allerhand Versalien. The original book was scanned in at the BSB (Bayerische Staats Bibliothek and can be downloaded.
A penmanship book due to Paulus (or Paul) Franck from 1655 under the title Kunstrichtige Schreibart: allerhand Versalien oder AnfangsBuchstaben der teütschen, lateinischen und italianischen Schrifften aus unterschiedlichen Meistern der edlen Schreibkunst zusammen getragen was published in 1655 in Nürnberg by Paul Fürst (ca. 1605-1666) and printed by Christoph Gerhard (1624-1681). This text, of which some pictures can be viewed here, consists largely of hyper-ornamental blackletter initials.
Franck's über-ornamental decorative caps were revived digitally in several typefaces:
A family of typefounders, starting with Edward Pelouze in Boston in 1818 until the last of the third generation of Pelouzes sold out in September 1901 to ATF to become branch 5 of American Type Founders. The link has a reproduction of The Pelouze Family of Typefounders, an article by Steve L. Watts in PAGA, vol. 4, no. 2, pp. 29-35, 1956 and a Pelouze family tree courtesy of yours truly. [Google] [More] ⦿
Dutch designer at Johan Enschedé en Zonen in Haarlem, whose work was also published by Stephenson Blake and Linotype. Born in Leiden in 1912, he died in Haarlem in 1995. He studied at the Academy of Fine Arts in Amsterdam, specializing in engraving. He joined Enschedé in 1936 where he would become art director. He made Juliana (Linotype, 1958; the original commission by Walter Tracy dates back to 1952; many penguin editions used Juliana), Emergo (1949, Enschedé, a face that was never released; he wrote The Emergo Type in PAGA, volume 2, number 3, pages 57-60, 1954), Molé Foliate (1960, see below) and Ponture (1971).
Lines&Splines reports the famous line by Hartz about Jan van Krimpen, his predecessor at Enschedé: the story of Van Krimpen's life could be subtitled, From Angry Young Man to Angry Old Man (note: Van Krimpen did not get along with many people.) Molé Foliate is a great floriated caps font designed by the Parisian founder Molé, with floral decorations inside the open face 3d letters. Redrawn in 1960 by Hartz at Stephenson Blake. A free digital version, Molé Foliated, was made in 1997 by an unknown designer.
A collection of Hartz's correspondence and prints (from his own press, Tuinwijkpers) can be found at the University of Amsterdam. He also designed some Dutch postage stamps. [Google] [MyFonts] [More] ⦿
With Sandro Mazzucato, we developed a program that takes fonts from scanner to bitmap to PostScript type 1 outline. The Bézier curves in the outline are found by a specially adapted random search method. "The Thienen family of fonts" (44 fonts) are freely available for everyone except for persons or companies that are now selling (or intend to sell) fonts for profit (see the readme file). Type 1 fonts with a larger but unusual FontMatrix (which somehow seem to upset some programs, even though they follow PostScript rules and are accepted by native PostScript printers and Ghostscript) may be found here [dead link]. Random search in automatic font generation (1994) is an article by Luc Devroye and Sandro Mazzucato that describes the entire process. [Google] [More] ⦿
Stempel's first 60 years, from its start in 1895, through the purchases of the Juxberg-Rust foundry from Offenbach in 1897 and W. Drugulin in 1919, to the era of Hermann Zapf in the 50s. That same publication was extended here. [Google] [More] ⦿
The Sugaku family of fonts (over 120 at the end of 2003) consist of ornaments and symbols. These fonts were generated by a PostScript program because the placement of the points of the outlines had to mathematically exact (for example, the vertices of a polygon with 17 sides cannot be correctly placed using a mouse in a font editor). All brought by yours truly, for free. I had (mathematical) fun making them.
This is my own selection of the best commercial and non-commercial typefaces published in 2013, grouped by category.
This is my own selection of the best commercial and non-commercial typefaces published in 2014, grouped by category. The list will grow until December 31, 2014.
I will tell you how to locate and alter the truetype embedding byte. No program, just a brief educational tour. If fonts can't be embedded in certain documents, this trick might help you out. There are programs that do this, such as Tom Murphy's embed, so I doubt that you will ever need my silly instructions. Direct download (C program). PC executable. [Google] [More] ⦿
Scientific lettering expert, 1871-1944. The Essentials of Lettering (1912, McGraw-Hill, New York), coauthored with Robert Meiklejohn, has many historical examples and takes the reader on a grand tour of lettering. The tease. [Google] [More] ⦿
Toronto-based foundry, located on Bay Street. It was active in the late 19th century, and published a specimen book on wood type: "Wood Type" (1897). It went out of business in 1967 and was taken over by Howard Graphic Equipment. [Google] [More] ⦿
A discussion by yours truly about UPM, or "units per em", a quantity that matters in the design of fonts. I argue of course for larger values of the UPM than are normally used in fonts today. But just to make a point, I designed two fonts that have an UPM of one. [Google] [More] ⦿
Vincent V. Apicella, Joanna V. Pomeranza and Nancy G. Wiatt co-authored The Concise Guide to Type Identification (1990, Lund Humphries, London), in which modern day types are classified, listed, and named. It contains equivalences between type names for various type manufacturers. Most importantly, it shows typeface equivalences for various typefaces from the phototype era. [Google] [More] ⦿
Author of Moderne Alphabete (1922, Verlag Bernhard Friedrich Voigt. Leipzig), a booklet in which Hilder shows about 40 of his hand-drawn alphabets. I scanned in most of that book for all of you. [Google] [More] ⦿
William T. Morgans