TYPE DESIGN INFORMATION PAGE last updated on Thu Oct 23 12:43:33 EDT 2014
Type scene in Connecticut
Adnauseum is an experimental design studio in Brooklyn, NY, run by Christian Acker, an American type designer (b. 1979, Norwalk, CT) who graduated from the Parsons School of Design in New York City in 2002. Christian occasionally guest lectures typography classes at Parsons. He set up Adnauseam in 2002 and Handselecta in 2003.
He designed Sailor Gothic (2003), the Spanish-looking font Sailor Jerry (2002), Joker Straight Letter (2006), Mene One NY Throwie (2006), Mesh One AOK (2006), Meskyle Laid Back (2006), Sabe Ghetto Gothic (2006), and 24Hrs (2002, Cubanica).
American Wood Type Co.
One of two American wood type manufacturers with the same name. This one was started by Charles Tubbs, John Martin and George Keyes in South Windham, CT, in the factory built by Edwin Allen in 1851 and sold by John G. Cooley in 1863. The three founders had been employed previously by William Page. In 1902, the company changes name to Tubbs and Co., but Tubbs kicks the bucket in 1903, and the company moves to Luddington, MI, under the new name Tubbs Mfg Co. [Google] [More] ⦿
Designer and illustrator Apirah Infahsaeng ("Synthetic Automatic", Brooklyn, NY) made Elastic (2004), based on wrapping a series of rubber bands around a 3x3 pegboard grid. Four (2004) takes inspiration from the dot matrix display in the popular children's game Connect Four. Seven Board of Cunning (2004) is a modular paper fold face constructed with Chinese tangram puzzle tiles. In 2004, he also made an ascii typeface drawn from Helvetica Neue R, created and manipulated using Microsoft Word [sic], called Helvetica Neue R Microsoft Word. He studied art at the University of Connecticut. In 2008, he drew a custom didone display typeface for New York Magazine. [Google] [More] ⦿
Benjamin Critton (b. 1983) is an American designer, typographer, art director, publisher, writer, editor and curator. He lived in New Haven, Connecticut, where he studies towards an MFA in graphic design at the Yale School of Art, and is now based in Brooklyn, NY. In 2010, he joined the British typefoundry Colophon.
In 2012, Colophon published his Value Serif typeface.
In 2013, the angular typeface Lydia Bold Condensed was published at Colophon: The typeface is a calligraphic sans-serif re-drawn and developed by Benjamin Critton after Warren Chappell's 1938-1946 designs. It is concurrently fluid and sharp; intended to appear wrought by both pen and machine. [Google] [More] ⦿
New York architect, designer and artist. Born in Pomfret, Connecticut in 1869 and died in New York in 1924. He is most famous for designing Cheltenham (1896) for the Cheltenham Press in New York, a long-ascender classical American face created initially for Ingalls Kimball at the Cheltenham Press. He also designed Merrymount (1894-1896, Merrymount Press, a medieval-look humanist face cut by Woerner of A.D. Farmer&Son).
Cheltenham was adapted, extended, and revisited by many, starting with Morris Fuller Benton from 1904-1911, who created a full family of Cheltenhams for ATF---Benton's Cheltenham is the Cheltenham we have today. In 1975, Tony Stan increased the x-height in his revival for ITC.
Cheltenham versions can be found at SoftMaker (Cheltenham Pro, and S790), Elsner&Flake (Cheltenham OldStyle EF), Berthold (as Sorbonne BQ), Adobe (ITC Cheltenham by Tony Stan), URW (Cheltenham Old Style, and the 2001 face Cheltenham D Bold Extra Condensed), Castcraft (as OPTI Cheltenham Old Style), Monotype (as Gloucester Old Style, Monotype's version of Cheltenham), Paratype (the 1997 Academy typeface family by Lyubov Kuznetosova and Alexander Tarbeev), Cheltenham Pro (2012, Softmaker), Bitstream (Cheltenham; also under the names Stubserif 705 and Stubserif 205 for the Extra Condensed versions), Font Bureau (FB Cheltenham by Jane Patterson, 1992), ITC (Tony Stan's 1975 version of Cheltenham; and ITC Cheltenham Handtooled, a 1993 openface family by Tony Stan and Ed Benguiat), and Scangrapghic (Chelten or Cheltenham Old Style SB).
Mac McGrew on Cheltenham: The design of Cheltenham Oldstyle and Italic is credited to Bertram Grosvenor Goodhue, an architect who had previously designed Merrymount, a private press type. For Cheltenham he had the assistance of Ingalls Kimball, director of the Cheltenham Press in New York City, who suggested and supervised the face. Original drawings were made about 14 ' inches high, and were subjected to much experimentation and revision. Further modification of the design was done by the manufacturers. Some historians credit this modification or refinement to Morris F. Benton; another source says it was done at the Boston branch of ATF, which suggests that the work may have been done by Joseph W. Phinney. In fact, Steve Watts says the face was first known as Boston Oldstyle. Mergenthaler Linotype also claims credit for developing the face, but it was first marketed by ATF. Trial cuttings were made as early as 1899, but it was not completed until about 1902, and patented in 1904 by Kimball. It was one of the first scientifically designed faces. The thin lines were strengthened to avoid the emaciated look of many types of the period. It is almost a monotone, but with just enough difference between light and heavy lines to avoid monotony. The small serifs and short, compact lowercase make a high character count. Ascenders are unusually long, while descenders are quite short. This was done as a result of studies that showed the greater importance of the upper half of a line of type in creating readily recognizable word shapes and result ing readability. The face has had much adverse criticism, especially because of its short descenders and the unusual design of several characters---notably A with the extension of its thick stroke at the top, G with the curve extended at the bottom, and g with its angular, unclosed tail. The alternate form of r, with its arm raised above x-height, has also been criticized, but this is mostly the result of misuse. It is disturbing within a word, but adds a bit of grace at the end of a word. Oddly, original fonts had only this form, with the more regular r added later; most fonts for handsetting include both forms of r, but those for machine setting include only the normal form or in a few cases only the more exotic form. Morris Benton, ATF's chief designer, produced Cheltenham Bold in 1904 and a score of variations up to 1913, methodically exploring the possibilities of various combinations of weight and width, and making this the first true large type family. Benton's variations include Cheltenham Bold Condensed, 1904; Cheltenham Bold Italic, Cheltenham Bold Condensed Italic, Cheltenham Wide and Cheltenham Bold Outline, 1905; Cheltenham Bold Extra Condensed and Cheltenham Bold Extended, 1906; Cheltenham Inline, Inline Extra Condensed and Inline Extended, 1907; Cheltenham Oldstyle Condensed, 1909; Cheltenham Medium, 1909; Medium Italic, 1910; Cheltenham Extrabold, 1910; Cheltenham Bold Shaded, Bold Italic Shaded and Extrabold Shaded, 1912; and Cheltenham Medium Condensed and Expanded, 1913. Linotype, Monotype, and Ludlow each have duplicates of a dozen or more Cheltenhams, while Intertype has the same under the name Cheltonian. Nearly all of these are essentially the same, except for the addition of ligatures and diphthongs in some display fonts (as shown for Cheltenham Bold), and the modification of keyboard sizes to fit mechanical requirements, but this is substantial in some cases. A curious exception is C heltenham Bold Outline; in the original foundry version it is cut from the same patterns as Bold so they will register for two-color work, while Monotype display sizes have several characters rather crudely redesigned---note H, P, R, e, h, u shown separately. Some of these other sources have also added versions of their own, notably Cheltenham Cursive, designed by Robert H. Middleton for Ludlow, and Cheltenham Wide Italic on Monotype, probably designed by Sol Hess. The latter carries the modifications required for machine-set sizes into display sizes as well. There are several oddities in the Cheltenham family. Cheltenham Wide is identical with Cheltenham Oldstyle except for the lowercase, in handset fonts. The same figures and punctuation marks from these two faces are also shared by Cheltenham Oldstyle Condensed, again in handset fonts. In the specimens shown here, compare Oldstyle and Wide. The former, set in ATF type, has two forms of cap C, which that foundry supplied with both faces, while the latter, set in Monotype, has two forms of cap W, which that company made only for that face. The unusual paragraph, prime and double prime marks, as well as parentheses and brackets, were made by ATF in some sizes of all three faces, but by Monotype only in Cheltenham Oldstyle. There is no Cheltenham Condensed Italic, but Linotype has a Cheltenham Extra Condensed Italic (so-called), which is actually a little wider than Cheltenham Condensed (roman)---why it is called extra condensed is not known. It suffers from adaptation to straight matrices, with annoying gaps between some letter combinations. But Cheltenham Medium Italic was designed more successfully by Benton to fit straight type bodies without kerns. Figures in the medium, bold, and extrabold weights differ from those of the Oldstyle; also notice how the x-height increases with weight. Ludlow Cheltenham is distinguished by the greater slant of some of its italics, and by the rounder top on the roman lowercase a and the rounder lower spur on capital G, as shown in some of the specimens. Western Type Foundry copied several members of this family as Chesterfield. Hansen had the Craftsman series, differing most noticeably in the few characters shown; and other foundries around the world copied it under a variety of names. Also see Kenilworth, Lowell, Venetian.
Books on Cheltenham include one by Thomas Hailing: Specimens of General Printing . Cheltenham (1882, Oxford Printing Works).
In 1850, Horatio and HJeremiah Bill, who had previously worked for Edwin Allen in South Windham, CT, start a wood type manufacturing business in Lebanon, CT, and move to Willimantic, CT, the next year. A few years later, they were joined by Stark, and the company became Bill, Stark, and Co. In early 1854, it is renamed again to H. and J. Bill Co., but closes its doors later that year. Their equipment gets purchased by William Page in 1856 who will start his own successful wood type company, Page&Bassett.
Its typefaces included Bill Stark Roman Extended (a "fatface"), and Concave Tuscan Condensed (1853).
For digitizations, see, e.g., Dick Pape's AWT Bill Stark Concave Tuscan Cond (2013), AWT RIT Conc Tuscan Open Shade (2013) and AWT vandenburgh Concave Tuscan (2013: this typeface was cut by Vanderburgh Wells but is based on an 1853 design by Bill, Stark & Co). [Google] [More] ⦿
Albert Bruce Rogers was a celebrated American type and book designer (b. 1870, Linnwood, IN, d. 1957, New Fairfield, CT). A graduate from Purdue in 1890, he worked in book design. It was not until 1901 that he cut his first typeface, Montaigne, a Venetian style face named for the first book it appeared in, a 1903 limited edition of The Essays of Montaigne. In 1912, Rogers moved to New York City where he worked both as an independent designer and as house designer for the Metropolitan Museum of Art. It was for the Museum's 1915 limited edition of Maurice de Guérin's The Centaur that he designed his most famous type-face, Centaur (1914). Like Montaigne, it was based on the Venetian faces of Nicolas Jenson. Wikipedia: Rogers considered this face to be a substantial improvement on his early Montaigne, both because his design had matured and because, on the advice of Frederic Goudy, he had employed Robert Wiebking as the punch-cutter, and Rogers used Centaur extensively for the rest of his career. The Centaur was produced by Rogers in Dyke Mill at Carl Rollins' Montague Press and is now one of the most collectible books ever printed.
In subsequent years, he designed books for Mount Vernon Press, and Harvard University Press, and served as typographic advisor at Lanston Monotype. To produce the Oxford Lectern Bible for Oxford University Press, an italic complement to Centaur was needed. Wikipedia: As he did not feel capable of designing the sort of chancery face that he thought appropriate, Rogers chose to pair Centaur with Frederic Warde's Arrighi, a pairing retained to this day.
Rogers died in New Fairfield, CT, and donated his books and papers to Purdue University, where they are in the Beinecke Rare Book and manuscript Library.
Executive Director of Type Directors Club in New York, who lives in Stamford, CT. Type and graphic designers know her best for her involvement, passion and hard work for the Type Directors Club competitions and exhibitions. Typographic picture from the TDC55 competition. [Google] [More] ⦿
CT-born creator of Serious (2013), an avant garde sans typeface, during his studies at The Art Institute of Boston at Lesley University, where he is in the class of 2014.
Delta, CO (and, earlier, Stamford, CT)-based Joseph Coniglio (b. Niagara Falls, NY, 1955) and a small group of designers. Check out the typewriter families Carbon 14, Passport, Vintage Type, Garnet Euro Typewriter (2004, grungy), and Telepath.
Other fonts: Aspersion, Grasshopper (dada), Burnt Toast (rounded fat finger face), Yardbord Numerals, Snyder Speed, Autocrat, NudE, Jack Rabbit, Felt Marker, Oregon Dry, Sublime, Omaha, Nomad, Aquacia (stencil), Rainmaker (stencil).
Editor of A web log of design and high drama which frequently comments on typographic matters such as web fonts (why pay for them?), traffic signs, and typeface use. He calls himself the world's toughest writer, and lives in the New England area (he graduated from Dartmouth, NH). In this piece entitled The Tell-Tale R Some Thoughts on Clearview, Cosmo writes this about the decision to start using Clearview for America's highway signs:
While I admit it's (much) easier to read, I can't say I'm exactly psyched about seeing it. There are a variety of reasons why. I suppose my gut reaction is that it no longer feels like I'm driving down a federally-funded expressway-it feels like I'm staring at ads.
While I've mentioned that Interstate has really picked up its public profile recently, Interstate isn't really the FHWA typeface. Tobias Frere-Jones got a lot of attention for Interstate because the edits he made were very subtle, yet somehow made the font tolerable for more than 12 characters at a time.
Clearview, on the other hand, was in use for advertising years before it ever appeared along the highway-most notably by megalith AT&T. I liked the old, ugly FWHA face because it was so odd and idiosyncratic. It was like watching a David Bowie in his "androgynous alien" days-no mistaking it for anything else, let alone a sweeping corporate rebranding.
FWHA's cold formlessness was also nice because it didn't encourage you to interact. One of Steve Jobs' most persistent design maxims is that products need to be anthropomorphic; it makes people want to engage with them.
Clearview is definitely more human than FHWA, but is that really a good thing? Do we really want people relating to and engaging with signage? Or do we want them to glance, comprehend, and get their eyes back on the road?
I'm also skeptical of the notion that legibility should be the only standard. Reading interstate signage-even with the old, weird FHWA face-is pretty damn easy. If you need the extra 200 feet to pick out an exit, what other details are you missing? Should you really be on the road? [Google] [More] ⦿
Dave Panfili (Davalign LLC, and before that, Connecticut Web Design, and before that, DB Elements Web Design) is the Fairfield County, CT-based creator of the futuristic faces DBE-Rigil Kentaurus (2009, hand-printed), DBE-Rigel (2010, hand-printed), DBE Nitrogen, DBE Hydrogen (2009, futuristic), DBE Lithium (2009, squarish), Gridshift (2010), DBE Oxygen (2010, grunge), and DBE Fluorine. DBE Beryllium (2009, splattered paint font), DBE Canopus, DBE-Sirius, DBE-Vega, and DBE-Arcturus are all hand-printed faces. Dafont link. Fontspace link. Fontspace link for Davalign LLC. Devian tart link. [Google] [More] ⦿
David C. Lovelace
David M. Cushman
Part of the Chank Army, Dirtfonts (part of Dirt Magazine, also called Form://subtance) has produced some grunge/grunge fonts for the Mac such as df_unitype (2001), Blip (2001), Chunky (2001), Fader (2001), Fatslab (2001; see also here), Faxt (2001), M-smcaps (2001), Matrix (2001), Receipt (2001), Scrawl (2001), Scribble (2001), ShadowGrotesque (2001), Shift (2001), Solidsubstance (2001), Substance (2001), Stampkit (2002), Hyperbole (2002, a handwriting font), Basic (2002). The designer is David M. Cushman out of Harwinton, CT. [Google] [More] ⦿
Divide by Zero (or: DBZ Fonts)
Divide by Zero (or: DBZ Fonts) has about 100 fun freeware TrueType fonts by Tom Murphy from Hamden, CT. Direct downloads. All the fonts in one zip. The fonts, made between 1993 and 2005: 32768NO, 7hours, ActionJackson, Angstrom, AntelopeH, AntimonyBlue, BoringBoron, CODON, ColophonDBZ, ConventionalWisdom, CosineKatie, Davis, Dissonant-Fractured, DoctorAzul, Donner, DouglasAdamsHand, Dysprosium, Epilog, Faraday, Fresnel, GaussJordan, Geodesic, Germs, GreenwichMeanTime, GuildofProfessionalActors, HockeyisLif, HockeyisLif, HydrogenScore, Initial, Isuckatgolf, Levity, Lexographer, Linear, MayQueen, MelanieGirly, MetaLanguage, MusicDBZ, NaturalLog, NonBlockingSocket, NullPointer, OPTICBOT, OneConstant, PROGBOT, Pinball-Data, PotassiumScandal, Prefix, Proteron, Ransom, RealBttsoief, Resurgence, RobotTeacher, Secret-Labs, SignalToNoise, Snootorgpixel10, Submerged, Technetium, Tetanus, ThisBoringParty, Toast, Tom's-Handwriting, Tom's-NewRoman, Tombats-One, Tombats6, Tombats7, TombatsFour, TombatsSmilies, TombatsThree, Tombots, TommysFirstAlphabet, TomsHeadache, Tuesday, Two-TurtleDoves, Valium, WolvesLower, Yikatu, ZincBoomerang.
Dobi (was: Toxic Type)
Site of prolific designer Rob Dobi from Fairfield, CT, who made many freeware/shareware fonts. Some fonts are grungy, but many have a strong calligraphic influence (Killigraphy and Arthur for example). The list: Apocalypse1, Arthur, AssCrack, BallstotheWall, Blasphemy, Bubblegum Superstar (1998, more a brush font than a bubblegum font), Catch22, CrappyCrap, Cringe, CriticalMass, Depraved, DobiType, Doober, DroopyPoopy, Duchess, Dumbass, Entropy, Failure, FluxCapacitor, Geriatric, GreenAppleSplatters, Guillotine, HeavyRotation, HongKongFistFuck, HyperKinetic, Immoral, InKsolBitch, Incest, KaBlooie, Kemuri, KillgraphyBold, Killigraphy (1998), Misconstrued, Misfortune2, MisterSinister, Nicole, PessimisticLines, Piledriver, Plastered, Puke, Salvation, Snot, Splooge, Static, StoneCold, Suicide, TheDrips, Vein. Another site has additional fonts such as Pitty. Toxicomania, Ocular and Pileliner have disappeared.
Edwin Allen manufactured wood type for newspapers in South Windham, CT, from 1837-1840, after having invented in 1836 his own version of the router/pantograph for wood type manufacture. His wood types were sold exclusively through George Nesbitt in New York City. In 1845, two of his employees, William and Samuel Day, left to set up their own company in Ohio. Two other employees, Horatio and Jeremiah Bill, from Lebanon, CT, left in 1850 to start their own business as well. In 1852, Allen's company was purchased by John G. Cooley and production moved to New York City.
Elliott Peter Earls
Enrich Design was founded by Richard Hubbard (b. Torrington, Connecticut, 1971), the designer at Bitstream of RichType, Ingrid (hand-printed), Ruly, StarsStripesRH (free face), Richfont, Upperclass (1995, an informal family), Lifeguard (2004, athletic lettering), Solfont (hand-printed), Cell Block 6 (2002, a gridded face by Jeff Solak), and Rich Dingbats&Bursts.
He started his own on-line design business, Enrich Design, which offers his fonts as well. Richard holds a BFA in Art&Design from Pratt Institute (1993) and does freelance graphic design.
In 2012, he created Anne's Hand for The National Eating Disorders Association (NEDA), a non-profit organization dedicated to supporting individuals and families affected by eating disorders. He writes: Anne's Hand is a custom handwriting font of Anne Hubbard, who tragically lost her battle with anorexia nervosa this past January. Anne loved to write, so her brother Richard designed a custom font of her handwriting as a tribute to her memory.
Fat Cat Fonts (was: MintCure)
Fat Cat Fonts (was: Mintcure) offers absolutely wonderful grunge fonts by CT-based Jennifer Dickert. These include Caterpillar, La Ment, Kyoto Song, Close2MeBased, Treasure and KissMeKissMeKissMe (1997, a curly face), from CD cover albums of The Cure and Head on the Door.
The "About" of March 1, 2010, reads: FONT A DAY is a place for me to put some of the free/shareware/etc fonts I come across on my internet travels. I am going to try to post at least one free font a day in a format that windows and mac people can use, and try to tell a little about the typeface and the designer whenever possible. The page is run by Ronald Sansone (Middletown, CT). By the end of 2010, holes started appearing in the updates. We are converging towards one or two a week. [Google] [More] ⦿
FontHaus, or DsgnHaus, was located in East Fairfield, CT, and is now in Westport, CT. It offers a 1200-font collection of original fonts. They also sell fonts from the libraries of Adobe, Agfa, Berthold, Bitstream, FontFont, ITC, Linotype, Monotype, [T-26] and many others.
On their DsgnHaus Exclusives CD, we find fonts by the following individuals or foundries: Al Brantner, Frank Heine (UORG), Munich Type, Altemus, Franta Storm, Patricking, Ampersand, Galapagos Design, Pepper Tharp, Andrew Smith, Gary Munch, Robert Knopf, Andy Stock, Graphics by Gallo, Robert Petrick, Ann Pomeroy, Haig Bedrosian, Rodrigo Cavazos, Apply Design, Holly Goldsmith, Self Build, Bill Fletcher, Jack Tom, Spiece Graphics, Blue Sky Graphics, Jason Sutton, Swordfish Design, Casey Cheeseman, Jens Gelhlaar, Terminal Design, Christian Scwartz, Joe VanDerBos, Tintin Timen, Circus Design, John Alfonso, Wolfer Type, DsgnHaus, Kayde Fonts, Wolfgang Wagner, Kurt Roscoe, Woodrow Phoenix, Emma Smith, Mark Jamra, Faruk Ulay, Mondrey (Castcraft).
American type designer, b. 1860, New Haven, CT, d. 1937, London. In 1894 he started working at Loewe AG in Berlin. In 1899, he became president of Monotype in England. His typefaces:
Gary Munch (Stamford, CT) writes frequently on copyright on alt.binaries.fonts. Here are some statements as a reaction to someone who posted a font on that newsgroup. The discussion turned to the presence of a copyright notice in the font. Gary writes "The lack of a copyright notice does not make an image or artwork public domain. " Agreed, but this is at least a very confusing situation. Surely, consumers cannot be assumed to be expert enough to know who owns copyright to what if there are no notices. And how can they distinguish freeware from payware? Forgetting to place a copyright notice in a font is just unforgivable sloppiness on the part of a font producer. Even Paul King's SSi fonts have copyright notices. He goes on: "It is the heart of copyright that only the artist or the heirs or assignees of the artist can determine the disposition of the images in the artwork. The first person who makes an unauthorized copy and distributes it infringes that copyright. Each subsequent copying, by whoever copies the image, still represents an infringement." The first problem with this is the application to fonts. In many countries, fonts are not considered art, and in the USA, font shapes (the arts contents) cannot be copyrighted. So, assume that we are in a country where such font copyright protection exists. Then no one can use any font downloaded from anywhere because the copyright notice may be fake or may have been deleted by someone else. Indeed, where should a consumer turn to for help? Even if you buy a 1000 dollar CD, you may be infringing on someone's copyright. No ordinary consumer can reasonably be expected to know the font world well enough to figure out who owns the copyright on his/her own. Gary goes on: " Copyright holders -have the right- to protest the wrongful posting of their work. The diminishing of the effectiveness of one copyright holder's rights diminishes that of all copyright holders. " [Google] [More] ⦿
Gerard Huerta Design
Lettering artist, b. 1952, head of Gerard Huerta Design in Southport, CT. Lettering and logos of Huerta were used by Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Spelling Entertainment, Nabisco, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, Us, Condé Nast's Traveler, Working Mother, WordPerfect, Scientific American Explorations and Architectural Digest, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast. Designer and vice-president of New York's Type Directors Club. Based in Southport, CT.
He made many famous logos and created several logo-fonts. Huerta worked for some time at CBS Records. His type designs include a custom Franklin Gothic in the late 1970s as part of Walter Bernard's redesign of Time Magazine. [Google] [MyFonts] [More] ⦿
Grosse Pointe Group LLC
The Grosse Pointe Group LLC is located in Westport, CT, and is run by Mark Solsburg, who also owns Group Type, ansd who was involved in or ran FontHaus and TypoBrand. Under the Grosse Pointe label, we find a digital font called Stradivarius (1992), named after Imre Reiner's 1938 formal script font Symphonie (Bauer; renamed Stradivarius in 1945). At Group Type or the other outfits of Solsburg, we find these fonts: Carpenter (a 1995 revival of an old connected ATF script by James West), Aquiline (an absolutely wonderful 16th century script), Bank Gothic (1994, a revival of Morris Fuller Benton's original---see also Bank Gothic BT), Aries (a 1995 revival of a lapidary by Eric Gill), Schneidler Initials (a 1995 revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface), Raleigh Gothic (a 1995 face based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival), Ovidius Script (a medieval simulation script, dated 2006, designed by Thaddeus Szumilas; in Light, Demi and Bold weights), Metro Sans (2006, a great Bauhaus style sans family based on William Addison Dwiggins' Metro #2), Corvinus Skyline (1991; a revival of a condensed modern family by Imre Reiner by the same name, 1934), Cloister Initials (2006, a revival of an illuminated caps face by Goudy), Regular Joe (2006, an out-of-place childish handwriting font), and Caslon Antique (1993; based on an original by Bernd Nadall). [Google] [More] ⦿
Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type face fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type face fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include
Christian Acker (b. 1979, Norwalk, CT) and Kyle Talbott, two graphic designers in New York City, set up Handselecta on Long Island in 2003 as a division of Adnauseum, Inc. They have pages on graffiti art, graffiti and calligraphy, and graffiti-based typefaces: Espo, Joker (done with Jerry Inscoe), Sabe, Mesk, Mesk AOK. Run by Brooklyn-based Christian Acker. They are selling the graffiti fonts. MyFonts link. MyFonts sells HSMene One NYThrowie (2006), 24 HRS, Joker Straight Letter, Mene One Mexicali, Mesh One AOK, Meskyle Laid Back, Sabe Ghetto Gothic, and Sailor Gothic.
In 2008, he made a custom graffiti font called Lebron6 for tge launch of Lebron James's Sixth Shoe.
HiH (Hand in Hand)
Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:
In 1850, these brothers, who had previously worked for Edwin Allen in South Windham, CT, start a wood type manufacturing business in Lebanon, CT, and move to Willimantic, CT, the next year. A few years later, they were joined by Stark, and the company was renamed Bill, Stark, and Co. In early 1854, it is renamed again to H. and J. Bill Co., but closes its doors later that year. Their equipment gets purchased by William Page in 1856 who will start his own successful wood type company, Page&Bassett. [Google] [More] ⦿
From Westport, CT, Ilene Strizver is the founder of The Type Studio. She consults on type, designs type and writes about typography and visual communication. She co-designer ITC Vintage (1996) with Holly Goldsmith. She was the Director of Typeface Development for International Typeface Corporation (ITC) where she developed more than 300 text and display typefaces with type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Tim Donaldson, and Phill Grimshaw. Her essay on spacing and kerning. Essay on rags (ragged lines), orphans (short last lines) and widows. She published "Type Rules! The designer's guide to professional typography". [Google] [MyFonts] [More] ⦿
Designer born in Hartford, CT, in 1979. Art director and founding partner of Media Masters, a full-service communications and design firm. He made the commercial typeface Cell Block 6, published by Enrich Design. [Google] [MyFonts] [More] ⦿
Jessica Svendsen is an MFA candidate in graphic design at the Yale School of Art, working primarily in print, exhibition, motion, and web design. For a project, she digitized Paganini (2010), an Italian typeface originally drawn by Alessandro Butti and Raffaello Bertieri in 1928. [Google] [More] ⦿
Illustrator and album cover artist in the 1940s and 1950s, b. Bellefontaine, OH, 1914, d. Rowayton, CT, 1998. He lived mostly in Rowayton, CT. Irwin Chusid writes: Flora's album covers pulsed with angular hepcats bearing funnel-tapered noses and shark-fin chins who fingered cockeyed pianos and honked lollipop-hued horns. Yet this childlike exuberance was subverted by a tinge of the diabolic. Flora wreaked havoc with the laws of physics, conjuring flying musicians, levitating instruments, and wobbly dimensional perspectives. Taking liberties with human anatomy, he drew bonded bodies and misshapen heads, while inking ghoulish skin tints and grafting mutant appendages. He was not averse to pigmenting jazz legends Benny Goodman and Gene Krupa like bedspread patterns. On some Flora figures, three legs and five arms were standard equipment, with spare eyeballs optional. His rarely seen fine artworks reflect the same comic yet disturbing qualities. "He was a monster," said artist and Floraphile JD King. So were many of his creations.
His headline in a 1953 issue of Park East Magazine inspired Nick Curtis to create the font Cool Cat Jim NF (2005). Another Jim Flora font by Nick Curtis is Flora Dora NF. P22 Type Foundry has released Flora Mambo (2010), a font set based on playful hand-lettering from the 1955 Jim Flora Mambo For Cats RCA Victor album cover. The set includes Flornaments, consisting of 72 miniature figure icons (dingbats) from Flora artworks. Scans of some of his album covers and illustrations: Collaboration, Dog, Kallao set, Solomon's Seal (1942), The Day the Cow Sneezed (1957), Self Portrait. [Google] [More] ⦿
American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. He published Specimens of Wood Type.He published Specimens of Wood Type.
Examples of their wood types: Antique Tuscan No. 1 (1859).
Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. See also AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed by Dick Pape. [Google] [More] ⦿
German-born designer (b. Bottrop, 1888, d. New Haven, 1976) associated with the Bauhaus School that made artistic ripples from 1919-1933. Ex-director of the Department of Design at Yale. Regarding the Economy of Typeface: an article explaining Albers' vision for typography. His typefaces: Display (1923), Schablonenschrift (1923-1926), Futura Black (1926, a great stencil face---Paul Renner and the Bauer design office made it into a typeface in 1929, and included it in the Futura series, even though Futura is quite different in concept) and Kombinationsschrift auf Glas (1928-1931; combine a few elements---it was recreated as P22 P22 Albers by Richard Kegler from 1995 until 2004; see also here). Kombinationsschrift is inherently modular, the principle at the basis of FontStruct and other font creation tools. On my pages, I sometimes call the blatantly modular faces in the style of Kombinationsschrift piano key fonts.
Bridgeport, CT-based graphic designer. For a course at SASD (Shintaro Akatsu School of Design) taught by Gary Munch, Kazuha created Kazlon (2013)---obviously named after Caslon. Kazuha Canak grew up in Neuss, Germany. [Google] [More] ⦿
Mark Solsburg is the head of the Type Directors Club and of Fairfield, CT-based FontHaus (DsgnHaus). Mark Solsburg has been working in the type business since 1985 when he joined International Typeface Corporation in New York. Prior to leaving ITC to launch FontHaus in 1989, he was ITC's Worldwide Marketing Director. Solsburg was responsible for ITC client marketing support and assisted in developing early OEM licensing agreements with Apple Computer, Adobe Systems, Canon, Linotype, Compugraphic and Xerox. In 1989 he founded FontHaus, which has since grown into one of the largest independent suppliers of digital fonts to large and small design firms, advertising agencies and other media producers in the industry. FontHaus was among the first to offer online sales of digital fonts (1994) and online sales of additional user licenses. In 1993, FontHaus began publishing the typographic magazine X-HEIGHT. In 1994, FontHaus expanded its dealer network in Europe by acquiring Faces Ltd., the UK's first independent font reseller. Faces was sold to Agfa Monotype after nine years as a FontHaus subsidiary. Solsburg served as a board member and as the president of the Type Directors Club (New York), and is a co-founder and principal of TypoBrand. Solsburg lives and works in Westport, CT. In 2008, Mark Solsburg and Mark Simonson cooperated on the digital revival of the calligraphic Diane Script, originally designed in 1956 by Roger Excoffon. [Google] [More] ⦿
A small foundry offering some free and some commercial fonts by Raven Hanna: OgdredWeary (1996: free, based on a typeface in one of Edward Gorey's books, The Curious Sofa; note that Ogdred Weary is a permutation of Edward Gorey), Xerkle, Dali (with melting clocks), Ravenous, Fredfont (free), and Fred-Chunky. Raven was helped by Jesse Reklaw from New Haven, CT. Fontspace link. [Google] [More] ⦿
Old Typewriter TrueType Fonts Home Page
Parallax (Dave's Free Fonts)
Free futuristic fonts by David C. Lovelace from Broad Brook, CT: Penn Station (2000), Litebrite1975 (1999), Pentomino (1999), SquarrelRounded, Umop (1999), UmopMedium (1999), Y2K Kill, Triangel (1999), Rebecca (2003, curly), Stinky Kitty (2001), Irresistor (2001, pixel), Octicity (2001), Christmas on Crack (2001, gothic and curly), Spastic Nerve Bag (2002).
Type designer born in Boston in 1948 who created many exquisite designs such as Alexia (1992), Sallando Italic, Dorothea or Cresci Rotunda. His work shows the influence of masters such as Arthur Baker.
Thomaston, CT-based author of The Barefoot Hiker (1993). FontStructor whose fonts in 2011 include Frumfceaft Uncial (an outlined art nouveau face with uncial roots), Barefoot Hikers (a roman face done for his book), Caedmon, Nikonorian (needlepoint face), Frumfceaft Rune (an anglo-saxon rune face), Barefoot Standard. [Google] [More] ⦿
Robbie de Villiers
Studio Sans-1 (Typography)
Art director Ronald Sansone is from Middleton, CT (and before that, Weston, CT). He ran the AOL font library and font software forums and libraries from ca. 1992 until 1999. He runs the free font site Fontaday. Ronald created the free grunge and display fonts Dark Black, Distrowt, In-N-Out, Negative-O, NumerO (a hacker font), SmurfinNormal, Spund, TwisterD, Uneeek, and HookedUp101 (2004: started by Sansone but finished by Ray Larabie). He also created the dingbat faces Batman (1996) and DingoBatz (1997; it was also featured in Linotype's 1998 font CD called Font Xplosion One). Alternate URL. Dafont link. [Google] [More] ⦿
The Apollo Program
Fonts by Greenwich, CT-based Elliott Peter Earls, typically sold by Emigre. Fonts available from Emigre: Jigsaw Dropshadow, Subluxation Perma, Typhoid Mary 3D. Other fonts: PenalCode, Toohey and wynand, Dysphasia (1993), Subluxation, Bland Serif, Calvino Hand, Mothra Parallax (1994), Distillation, Blue Eye Shadow, Venus Dioxide, Heimlich Maneuver (1994), Klieglight (1994), Penal Code (1994), Hernia, BlueEyeShadow. At Plazm, he published Subluxation (1994). Not the hottest-looking faces. Bio at Emigre, where the name Apollo Program is explained, and we find a 6-font grunge family called Elliotts. [Google] [MyFonts] [More] ⦿
The Factory of Font
Middletown, CT-based designer of some typefaces. The Factory of Font is apparently a real or fictitious typefoundry established in 2014 by Rick Erickson. Relation with Matthew Frederick unknown. [Google] [More] ⦿
The Type Studio
Author of Type Rules!: The Designer's Guide to Professional Typography (2010, Ilene Strivzer Inc). Ilene Strivzer (b. 1953), the founder of The Type Studio in Westport, CT, writes: The Type Studio is a unique and innovative studio specializing in all aspects of typography and visual communications. Our services range from the technical to the aesthetic, and include font development, type direction and consulting, type-oriented graphic design, copy writing, workshops and seminars. She wrote this article as an advertisement for OpenType (read: make people pay once again for fonts they already have). She was production director of Upper and Lower Case Magazine and director of type production at ITC in New York City, where she developed more than 300 text and display faces in cooperation with Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Phill Grimshaw and others. She organizes Gourmet Typography workshops. [Google] [More] ⦿
The Yale Typeface
Typeface specially designed in 2004 by Matthew Carter for Yale. It is free for all units at Yale University. From the press release: Yale is inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. [...] In 1929, Stanley Morison of the Monotype Corporation in England led a project to revive Aldus's De Aetna face. The resulting typeface, Bembo, proved to be one of the most widely used and highly regarded book faces of the twentieth century. It continues regularly to appear in Yale publications. Unfortunately, the more recent photocomposition and digital versions of Bembo lack the vigor, weight, and formal integrity of either the De Aetna face or of the original Monotype version of Bembo. Matthew Carter's Yale recovers the strength of the Aldine original, and updates it by sensitively simplifying the basic letterforms and their details. Aspects of the vigor and "color" of the well-known typeface Galliard, an earlier Carter design, are also evident in the new Yale face.
The fonts include YaleAdministrative Roman, YaleAdministrative Italic, Yale Design Roman, Yale Design Italic, Yale Small Capitals, Yale Web Small Capitals, Yale Street and Yale Street Aligning Figs. [Google] [More] ⦿
American printer (b. Stamford, CT, 1828, d. 1914). In 1848, he entered the shop of Francis Hart in New York City, where he became owner after Hart's death in 1877. It continued as Theo. L. De Vinne&Company until 1908, when it was incorporated as the De Vinne Press. De Vinne was the best-known American printer of his day. He was neither a type designer nor a type cutter. His books include The Invention of Printing (1876), Specimens of black-letter in stock at the De Vinne Press, no. 12 Lafayette Place, New-York City (1887; samples include Great Primer Black No. 2, Seven Line Pica Moxon's Outline Black, and Canon Black No. 1 with five line capitals), The roman and italic printing types in the printing house of Theodore L. De Vinne&co (1891, De Vinne Press, New York), The practice of typography: a treatise on the processes of type-making, the point system, the names, sizes, styles and prices of plain printing types (4 vol., 1900-1904, Century Co., New York: Amazon link), Types of the De Vinne press; specimens for the use of compositors, proofreaders and publishers (1907), and Notable Printers of Italy during the Fifteenth Century (1910). Biography by Nicholas Fabian. Bio at Britannica. Bio at Infoplease.
His type styles were revived in 2010 by Jeff Levine as Publication JNL.
Typophile Chapbook: Theodore Low De Vinne; was published by Carl Purington Rollins.
New York-born book designer, painter, type designer and illustrator, b, Brooklyn, NY, 1880, d. Danbury, CT, 1964. He was mainly involved with ATF. Fonts:
Graphic designer and lettering artist, born in 1939 in Eugene, OR. He studied with Douglas Lynch at the Museum Art School in Portland and later apprenticed with Lynch. Lincoln studied calligraphy with Lloyd Reynolds and Arnold Bank at Reed College. After a stint as an agency art director producing national ads for Pendletons womens fashions, Lincoln moved to New York City, where he joined the studio of Herb Lubalin. In NYC he continued his involvement with academia, exploring film at The New School and an intensive workshop with Milton Glaser. Eventually Lincoln started his own studio (occupying the space on east 32nd Street where New York Magazine was born), combining a design practice with teaching at New Yorks School of Visual Arts. Lincoln has served as Art Director at TCA (Benton & Bowles) in Westport, CT, as Creative Director, Redington, Inc., Stamford, CT, as Principal, Thomas Lincoln Design & Motion Graphics Communication, Westport, CT, as Freelance in residence Art Director, Baden & Co., Eugene, OR, and in 1992 returned to consulting and design through his own design office, Lincoln Design, based in Eugene/Springfield, OR.
Creator of typefaces at VGC, such as Lincoln Gothic (1965), which won the National Typeface Competition. His clients over the years include Acoustic Sciences Corporation, AT&T, Continental Packaging Co., The Ford Foundation, GE, IBM, PepsiCo, RCA, Showtime, Abrams, Colliers, Harpers Magazine, Macmillan, McGraw-Hill, Random House, Harcourt/ Brace, New York Times, Simon and Schuster, and Viking Press.
In 2006, Bitstream published New Lincoln Gothic, a 24-weight family starting with a hairline weight. This digital version was made in Fontographer from the old typositor strips by Lincoln himself.
My intention in designing Roma was to create a definitive, contemporary sans serif expression of the classic Roman majuscule as depicted in the Trajan Inscription at the base of the Trajan Column in Rome.
The Capitalis Monumentalis letter forms of the Trajan Inscription, which date to 113 Ad, have been described by the noted type scholar, calligrapher and historian, Father Edward Catich, as "the best roman letter designed in the western world, and the one which most nearly approaches the alphabetic ideal." And in the 1902 publication, "The Practice of Typography", Edmund F. Strange stated: "No single designer, or the aggregate influence of all the generations since has been able to alter the form, add to the legibility, or improve the proportion of any single letter there in."
Mr. Strange's pronouncement was true in 1902 and it is true today. Through the years various type designers have been inspired by the Trajan Roman to offer their own interpretations. Most notably, perhaps, Frederick Goudy's Trajan Title (1930), Warren Chappell's Linotype Trajanus (1940) and more recently, Carol Twombly's literal rendition of Adobe Trajan (1989) and John Stevens' spirited Stevens Titling (2011). There have been many other nice interpretations by other contemporary designers, yet it may still be said that none has improved the form, the legibility or the proportion of any single letter---though it can be said that the letters J, K, U, W, Y and Z, nonexistent in the ancient alphabet, have been added.
Less common has been the interpretation of Trajan in sans serif form. Hermann Zapf's Optima (1953), Sumner Stone's ITC Stone (1987) and Ronald Arnholm's Legacy Sans (2000), among other nice sans serifs, reflect characteristics of Trajan but seem influenced by other factors as well, including fonts such as Gill Sans and Syntax. And, while I don't presume to speak for their designers, none of these typefaces seem designed specifically with Trajan in mind.
My own Lincoln Gothic (1965), and its subsequent expansion as New Lincoln Gothic (2006), was a deliberate attempt to interpret the particular characteristics of the Trajan majuscule in a contemporary sans serif face. The most significant change in the later version was the addition of a lower case; a challenge that had simmered on my personal bucket list for several years.
Roma, though, differs from Lincoln Gothic in one significant way: while the terminals of Lincoln Gothic are flat, in Roma the vertices of letters such as A,M,N,V and Z are pointed. I believe this change is the critical difference that moves Roma closer to my objective of honoring the original Trajan. As with Lincoln Gothic, Roma's strokes have an almost imperceptible entasis that terminate in a subtle flare; a vestige of the serif. The importance of this feature is that it imbues the font with a humanist quality. The serif, as Father Catich points out in his book, "The Origin of The Serif", almost certainly derives from a combination of the flat brush and the human hand; it is what ties the letterform directly to human anatomy and craftsmanship, integrating it in a fundamental way with the nature of man---as distinct from the machine.
Three Islands Press (was: The Type Quarry)
Brian Willson (b. 1951, New Haven, CT), grew up in Austin, TX, and obtained a degree in radio, TV and film from the University of Texas in 1979. Since 1980, Willson has lived in coastal Maine, where for 15 years he worked as a writer and journalist, in both broadcast and print media, and was managing editor of National Fisherman magazine for one year. In the mid 1990s, he left the magazine business to devote his full time to Three Islands Press (3IP), a digital design and publishing company he founded in Rockland in 1989. He has been designing type since 1993. Three Islands Press (or 3IP, or The Type Quarry) used to offer 10 dollar shareware fonts. They went commercial and are now located in Rockland, ME. 3IP Type Foundry also enjoys the contributions of type designers Patricia Lillie and Lars Bergquist. Their fonts:
Joseph Treacy's West Haven, CT-based foundry selling hundreds of fonts. Names start with TF. In total, 320 faces by Joe Treacy himself and a few independent designers. The entire collection costs about 5000 dollars. Individual fonts at about 29 USD a shot. Treacyfaces acquired the phototype collection from Headliners (New York), so some of Treacy's typefaces are digitizations from that collection. Joe's typefaces include DuffyScript, Armada, EmpireState, Grange, Montauk, TFNeueNeuland, TF Nouveau Riche, Polaris, Poynder, TF Renoir, Romantiq, Saginaw, Siena, TFAdefabc, TFAdepta, TFAkimbo, TFArdent, TFArrow, TFAvian, TFBaccarat, TFBrynMawr, TFCaslon, TFCaslonDisplay, TFCaslonTen, TFCavalier, TFCoffeebean, TFDashes, TFDierama, TFFatType, TFFinny, TFForever, TFFoxfire, TFGary (handwriting of Gary Eckstein, done by Gary), TFGuestSten, TFGuestcheck, TFHabitat, TFHoneyspot, TFHotelmodCalligr, TFHotelmodTwo, TFHotelmoderne, TFMaltbyAntique, TFMasterstroke, TFOverfield, TFPosneg, TFPuzzle, TFRaincheck, TFRoux, TFRouxBorders, TFShotelmoderne, TFSimper, TFSolution, TFSquiggleCncery, TF Hotel Moderne, ThreeTen, TodaySB, TF Trantino, Vignette, TFMatterhorn, TFForever Monospace, TFCrossword Script and Serif, TF Cavalier Upright, TF Burko OSF, TF Barchowsky Fluent Hand, TF Bistro, TF Avian OSF, TF Arrow Italic, TF Ardent Monospace, TF Accidentals, TF Adepta OSF.
Tubbs Mfg Co
American wood type manufacturer. The company, located in Luddington, MI, started in 1903 when Charles Tubbs (of Tubbs and Co. in South Windham, CT) died. It was sold to Hamilton in 1918.
Company in Westport, CT, run by Mark Solsburg. They offer typographic consulting and custom type design. Partners are Mark Van Bronkhorst and Linnea Lindquist. Mark is developing the sans family Ethic and is the designer of Verdigris (garalde) and ITC Conduit. Linnea has worked with Twombly on Chaparral (Adobe). [Google] [More] ⦿
UTF Type Foundry
Fonts designed by Bill Tchakirides (b. 1946) out of Shepherdstown, WV (was Hartford, CT), who writes about himself: Would you believe that this old man in West Virginia was once a Broadway Producer, or a Commercial Food Photographer, or a Justice of the Peace, or a Font Designer, or even a Director of a major non-profit Arts Program on Cape Cod? Well, he was. Now he spends most of his time posting in the blogosphere and looking for things to do (retirement is a bitch).
This company (UTF=U-Design Type Foundry) sells display and picture fonts at 45 dollars a shot (30+15 handling): Bill's Hand Chiseled, Bill's Blasting Caps, Bill's Fat Freddy Caps, Bill's Olde Foundry, Bill's 1935 Caps, Bill's Printer Pals (2003), Bill's Light Deco, Bill's DECOrations, Bill's Tropical DECOrations, Bill's Modern Diner, Bill's Barnhart Ornaments (1989), Bill's Victorian Ornaments, Bill's Broadway DECOrations, Bill's Dingbats (1988---his first font), Bill's Universal Symbols, Bill's Century Marks, Bill's Cast O Characters (2003), Bill's New Elzevir (1993), Bill's School Letters (1993), Bill's School Daze (1993), Bill's American Ornaments (1993), Bill's Bertham (after Goudy), Bill's Brushed Broadway (1993, fat art deco face), Bill's Metropolitan (1993, art nouveau), Bill's Peculiars, Bill's Real Rubber Stamps, Bill's Asterisks and Bullets (1993), Bill's FISTory (1993), Bill's Brackets, Bill's Ampersands, Bill's Box Specials. [Google] [More] ⦿
William H. Page Wood Type Company
Norwich, CT-based company involved in wood type production. In 1856, William Page (b. Tilton, NH, 1829, d. Mystic, CT, 1906) bought out Horatio and Jeremiah Bill and founded Page and Bassett in South Windham, CT, with his partner James Bassett. In 1857, they moved to Greenville, CT. Some time later Samuel Mowry replaced Bassett as partner, and the company is Page and Co of Greenville, CT. Another name change occurs, to William H. Page&Co. In 1869, Page buys the operation of Colley&Dauchy. Mowry retires a bit later, the company moves to Norwich, CT, and becomes the William H. Page Wood Type Company. A year later, a defection of sorts---Charles Tubbs (an employee since 1860), John Martin and George Keyes leave to set up the American Wood Type Co. In 1881, George Setchell joins the business, and Page and setchell patent the die-cut production method. In 1889, Setchell sells all interests to S.T. Dauchy, who becomes president, only to sell the entire company to Hamilton in 1891. During the Civil War, Page perfected his equipment and became the leading manufacturer of wood type. In 1874, the company published a specimen book of so-called chromatic (wood) type. Henry Lewis Bullen described it this way: This is the most notable of wood type specimens. Page outshone all competitors in imparting a degree of artistry in designing wood type and borders, most of which could be printed in several colors . . . . [It is] a work of unusual excellence, well worth preserving. In 1891, Page's firm was absorbed by the Hamilton Manufacturing Company of Two Rivers, WI.
Many of his wood types were digitized by Jordan Davies of Wooden Type. Page's fonts include Aetna, Antique No. 4 (revived as HWT Slab in 2013 by Hamilton Wood Type Foundry), Antique Tuscan No 9, Bindweed, Clarendon Condensed, Clarendon Condensed Bold, Clarendon Extended, Clarendon Heavy, Concave Tuscan X, EgyptianTwo, French Antique, French Clarendon (XXX Condensed No. 117), French Semi, Gilbey, Gothic Tuscan Round, Hamilton, Minnesota, Norwich Aldine ML (1872, digitized by Tom Wallace in 2010 under the same name), Number 154, Page No. 508, Peerless 131 Bold, Rigney, Skeleton Antique, Teutonic, Tuscan Italian Round, Unique Wood, William Page 500, William Page 506.
In 2013, John Bonadies (MPress Interactive) started making digital typefaces based on Page's models. They published MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western face based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original).
Also in 2013, Dick Pape embarked on a large process of digitization of wood types at the Rob Roy Collection of the University of Texas. His digital fonts are free and are bundled under the label American Wood Type, or AWT. Revivals by Dick Pape of fonts due to William Page include AWTPage&SetchellNo154, AWTPage-SetchellNo515, AWTPageAldine, AWTPageAldineExpanded, AWTPageAldineOrnamented, AWTPageAntTuscanCond, AWTPageAntTuscanOutlined, AWTPageAntiqueBlack, AWTPageAntiqueCond, AWTPageAntiqueNo7, AWTPageAntiqueTuscan, AWTPageAntiqueTuscanNo1, AWTPageAntiqueTuscanNo8, AWTPageAntiqueXXCond, AWTPageAntiqueXXXCond, AWTPageBelgianCond, AWTPageBeveledNo142, AWTPageCelticOrnamented, AWTPageClarendonExtended, AWTPageClarendonNo1, AWTPageClarendonXXCondensed, AWTPageColumbian, AWTPageConcaveTuscanXCond, AWTPageConcaveTuscanXCondOutline, AWTPageCorinthianNo2, AWTPageEgyptian, AWTPageEgyptianOrnamented, AWTPageFrenchAntique, AWTPageFrenchClarendonCond, AWTPageFrenchClarendonXXX, AWTPageFullFacedGrecian, AWTPageGothicLightFace, AWTPageGothicTuscanNo1, AWTPageGothicTuscanPointed, AWTPageIonic, AWTPageIonicCondensed, AWTPageNo500, AWTPageNo501, AWTPageNo506, AWTPageNo508, AWTPageNo51, AWTPageNo510, AWTPageNo515, AWTPageNorwichAldine, AWTPageOrnamentedAldine, AWTPagePeerlessAntNo129, AWTPagePeerlessCondOldStyl, AWTPagePhanitalianNo132, AWTPageRomanAetna, AWTPageRunic, AWTPageSkeletonAntique, AWTPageTeutonic, AWTPageTuscanCondNo2.
Revivals by Nick Curtis: Sodbuster NF (2014, after Gothic Dotted), Tuscalooza NF (2014, after the 1872 typeface Tuscan Extended), Bandiera Del Legno NF (2014: this Tuscan wood type revives Gothic Tuscan Condensed Reversed), Belgique NF (2014: a revival of the (Western) wood type French Clarendon XXX Condensed No. 117), Skelett Antiken NF (2014, after Clarendon XX, 1959).
William Hamilton Page
The Wilton Foundry, which started out in Wilton, CT, but is now in Chattanooga, TN), was founded in 2003 by Robbie de Villiers. It published Cielo (2012, a san family with some contrast), Marcus (2012, a roman type family in the Trajan style), Typetonic (2011, techno), Skript (2011, a stencilish script), Vallassina (2011, like a child's hand), Bellezza (2010), Pagina (2010, humanist sans), Rijk (2010, calligraphic), Saycheez (2009), Chamber (2009, serif face), Ciseaux (2009), Terzo (2009, calligraphic), Werk (2009, 12-style sans family), Velouté (2008, script), Diario (2009, blackboard script), Carnegie Classic (2009, calligraphic), Ziro (2008, almost a comic book font), Suzie Q (2007, hand-printed), Brasserie (2007, connected script), Chateau (2007, calligraphic script), Pointe (2007, a blackboard script), Atto Sans (2007), Santa Cruz (2007, a serifed headline face), Marzipan (2007, a whimsical script), Spark (2007), Fete (2006, formal script), Flax (2006), Portfolio (2005), Cyan (2006, a compact serif face reminiscent of Trajan), Ceres (2009, related to Cyan), Cyan Sans (2006), Petronella (2006, medieval script), Pezzo (2006, calligraphic script), Canette (2006, calligraphic script), Vecta Serif (2005), Vecta (2005, sans family; also published in 2006 as Vecta DT (DTP Types)), Cinnamon (2005, children's handwriting), Cilantro (2005, fun handwriting, and its niece Hanna (2008)), Misspink (2005, stone-age simplicity), Brown Fox (2005, script), Celsius (2005, felt tip face), Plumage (2007, formal high contrast calligraphy), Plato (2005, faded roman caps), Diplomat (2006, calligraphic), Duet (2004, calligraphic; also published in 2006 as Duet DT (DTP Types)), Spark (2005), Anno Rex (2005), Hampton, SCelsius, Gluestick, Duet Bold (2005, calligraphic), Duet-Flourishes (2004), Duet2Deux, Duet-Regular (2005), Nobodi Bodoni (2005), About Face (2004, script), Benjamin (2003, a geometric sans), Paella (2005), Boondoggle (2005, curly face), Monotonose (2004), Password (2004), LoosieGoosie (2004), Pippin (2005, transitional serif), Carnegie (2004, calligraphic), LatextBold (2003), ModusBoldItalic (2003), Nantucket (2004), Nicolas (2005), Oslo (2005, a legible sans family), Sepia (faded look), Belair.
Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.
Unio (2012) is a rounded slab family designed to be sturdy and legible.