Chauncey H. Griffith
|
Kentucky-based type designer and printer, 1879-1956. He was a Linotype salesman who directed the growth of the Linotype library from 1915 to 1948, and improved the look of the world's newspapers. He worked to establish Linotype as the composing machine of choice in America. He continued as a consultant to Linotype well into his retirement. Linotype link. FontShop link. Font Bureau link. Pic. Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style faces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group. He designed or co-designed the following fonts, all at Mergenthaler: - Baskerville (1939, Linotype).
- Bell Gothic (1938). Now available at Bitstream. has its own version, Griffith Gothic (1997-2000): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this face for newspaper work, the former with special figures and other characters for setting racetrack results, the latter in 1941 with other special characters for stock market details. The basic Bell Gothic was also cut by Intertype in 1939. Compare No. 11 and No. 12, shown under Numbered Faces, previously used for directory work.
- Bookman (1936, after the 1960 original by Alexander Phemister at Kingsley ATF).
- Corona (1941), a narrow newspaper face with large x-height. Corona was designed to meet the rigorous requirements of high-speed printing, and is still the chosen type of many American daily newspapers. Mac McGrew: Corona was drawn and cut by Linotype under the direction of C. H. Griffith in 1941. It is a member of the "Legibility Group" offaces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona.
- Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
- Excelsior (1931, Linotype). At Bitstream, this is News 702. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype face intended primarily for newspaper work, Excelsior is available in closely graded sizes, including odd and some half-point multiples.
- Granjon (1928-1930, with George William Jones at Linotype). MyFonts: Claude Garamond's late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype&Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon's seventeenth century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon's romans, Plantin and Galliard. Granjon is a little less crisp in cut than either Sabon, Stempel Gararmond or Berthold Garamond, but makes a magnificent and most readable text face, as shown in Reader's Digest since its founding. Mac McGrew: Granjon was designed for Linotype in 1928 by George W. Jones, distinguished English printer, to meet his own exacting requirements for fine book and publication work. It is derived from classic Garamond sources, but with refinements made possible by modern methods of punch cutting. In fact, one critic has called it "the purest form of Garamond." It is named for Robert Granjon, mid-sixteenth-century punch cutter noted in particular for his italics, from which the present Granjon Italic was derived. Granjon Bold, by C. H. Griffith, was added in 1931. Lanston Monotype acquired reproduction rights to the face from Mergenthaler.
- Ionic No. 5 (Linotype, 1925). Mac McGrew: Ionic is a general name for a style of typeface which is closely related to the Clarendons (q.v.). Plain, sturdy designs with strong serifs and little contrast, the Ionics were popular in the latter part of the nineteenth century. Although many founders offered them, they were generally gone by early in this century. A few received a new lease on life when they were copied by Monotype, Linotype, or Intertype. Two new Ionics appeared in this century. Ionic No.5 was designed by C. H. Griffith in 1926 for Linotype, as a newspaper text face. It features a large lowercase with short ascenders and descenders, with no fine lines or serifs to break down in stereotyping, and no small openings to fill up with ink. This is one of a few faces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
- Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
- Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif face known as Memphis or Girder, designed by Rudolf Weiss about 1929, which did much to revive interest in this old style. Memphis Light and Bold were introduced by Linotype in 1933, Italics and Unique Caps in 1934, Medium in 1935, and other variations up to 1938. The Extra Bold versions were designed by C. H. Griffith. Alternate characters are available in some versions to more nearly approximate the appearance of Stymie or Beton (q.v.). The Lining versions are comparable to small caps in the regular versions, being propor- tionately wider and heavier than caps, and have no lowercase; there are several sizes each in 6- and 12-point, permitting various cap-and-small-cap combinations, in the manner of Copperplate Gothic. Also see Ward; compare Cairo, Karnak. Digital versions are everywhere. The Bitstream version is Geometric Slabserif 703.
- Linotype Monticello was designed by Griffith in 1946. Its design is based on James Ronaldson's Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965-1981. Mac McGrew: Monticello is a Linotype recreation of America's first great typeface, Binny&Ronaldson's Roman No.1, cut about 1796 by Archibald Binny in Philadelphia. His was the first permanent American type foundry. After about 30 years, the Binny face fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the face was renamed Oxford (q. v.). In 1943 Princeton University Press announced plans for publishing a 52-volume edition of The Papers of Thomas Jefferson. As President, Jefferson had personally written to friends in France, introducing a Binny&Ronald- son representative who was seeking a source of antimony to replenish the shortage which threatened the young typefounding industry in this country. Jefferson also referred in this letter to the importance of type to civilization and freedom. In addition, the popularity of this typeface coincided with the most prominent years of Jefferson's life. Therefore Linotype suggested that a recutting of the face would be most appropriate for the Jefferson books, and the publisher heartily agreed. C. H. Griffith, Linotype typographic consultant, made a detailed study of Binny's type and redrew it in 1946 for the requirements of Linotype composition and modern printing conditions. It is a vigorous transitional face, somewhat similar to Baskerville but slightly heavier and a little crisper.
- Opticon (1935, Linotype). Mac McGrew: Opticon was designed in 1935 by C. H. Griffith for Linotype. It is a member of what that supplier calls its Legibility Group of faces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
- Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This face is lighter and airier than most such faces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
- Poster Bodoni (1920). Digital version by Bitstream.
- Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
- Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper faces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper faces. Compare Excelsior, Ionic, Rex, etc.
- Non-Latin faces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.
[Google]
[MyFonts]
[More] ⦿
|
Wilson Thomas
|
Designer (aka Funk King, b. Fort Knox, KY) who lives in Orlando, FL, and/or Apopka, FL. He used FontStruct in 2008-2009 to make over 550 decorative fonts, and became one of the world's top experts on FontStruct, FontShop's on-line font editor. Most of his fonts were withdrawn in 2012. He did a few commercial typefaces at his commercial foundry, Funk King. His creations include - A Bit Eccentric.
- Alphabots
- Alphadings: On Hangers (2012, a commercial series that includes Pants on Hangers, etc), Dog Tag, Black Bird, Easter Egg Dots, Ser Egghead T. handlebar, Ovoidotta (now called Sniff), Play Book, BuddhaBuddha, Swizzle Sticks, Computer Backplate, Milky Way, Sprout, Football, Clapboard (for movie makers), Teed Off, Book Stack, Speaker Box, Ant Farm, Sound and Vision, Speaker Grill, Tom Tom, Caged Type, Conga Lounge, Spinal, Add Van, Frostruct, Picket Fence, Regatta, Cranestruct, Impossible Alphabet, Igloo Village, Mortar Board, Jack, Marionette, Golden Gate (+Short, +Solid), Crossed, Eff U ("the finger"!), Tall Big Top, Jackpot, Skulls&Cross Bones Redux, Crosshairs, Drama Club, Good Day Sunshine, Butterfly, Steps and Windows, Heartbroken, O Christmas Tree, Christmas Lights, Candle, Supper Time (alphadings of plates), Sands of Time (alphadings of hour glasses), Fishbones (commercial since 2012), Handy (alphading with hands), Hang Ten (feet alphadings) and High Five (hand alphadings), Armade and Ghost Ship Armada (ship alphadings), Cut Here (stitching alphadings), Schematic (electric circuit alphading), Masquerade, Mortar Board, Gear Bits, Gearswork, Hi-Lo Gears, Gears, Resistor, Gear Shift, Castle, Castle with Flags, Antique Keys, Rounded Keys, Pods, Piano Keys (+Alt, +Correct), Framework, Dixieland Jazz, Spats, and City of New Orleans (the last three are alphdings based on the same Victorian alphabet), Saturn, Piggy Bank, Voodoo Doll, Dice, Fist Bump.
- Antennas, Antennas Outline
- Antiquity
- Arcostellati, Arcostellato, Arcangolo, Arcontorno (2011): a blackletter family.
- Architect, Ruled, Gridworks, Blueprint (Solid, Dashed), Quadular (+Serif), Isometric Modified (+Light, +Bold Outline), Isometric (a 3d gridded family: +Basic Latin, +Basic Latin Lite, +More Latin, +Bold, +Black).
- Art deco: Arc Neuvo (rounded letters), Arc Nuevo (2012, commercial), Toneelschuur (based on the letterhead created for the Theatre Toneelschuur Haarlem), Shift (bold), Eye Spy (this says Peter Sellers), Mod Squad.
- Atomic.
- Avenue, Avenue Alphabet (white on black).
- Badge
- Ball and Chain (neat), Ball Bearings
- Balls and Bats
- Banjo (2012).
- Barber Shop
- Barcoded
- Basket
- Beachwear (horizontally striped)
- Beatnik
- Beltway.
- Birdseye
- Birdsteps
- Bitten
- Blackletter: Abbey
- Blanket Serif Caps, Blanket Sans Serif
- Block Inline Block
- Block Mosaic (great gridded letters)
- Blockheads
- Blood Sweat&Tears
- Bolla Fratturato (2011): outlined blackletter face.
- Bolt, Bolted
- Bon Mots.
- Break, Balance Beam, After Party (2010).
- Bubble Zwrap (2010).
- Build A Bridge
- Buzz Kill
- Carp Black, Carp Blanc
- Caterpillar, Tall Caterpillar.
- Cattails
- Chain Gang, Krazy King
- Channel
- Check Mate (checkered flag font).
- Cherry Bomb.
- Chubby
- Cinder Block (2010): a 3d face with texture thrown in.
- Circuit Board Solid, Circuit Board Outline, Circuit Board Outline Numbers, Circuit Board Simple, Micro Clean, Microcircuitz, Circuit Board Simple.
- Circus Maximus Outline
- Cirquela (2012). a non-FontStruct font, this is his first hand-printed typeface.
- Clean
- Cobblestones
- Compass (+Plain)
- Connected scripts: Cruise, Jet Cruise (2009), Notched Script (upright, connected), Rough Script (italic, connected), square Script (pixelish, connected).
- Computer Backplate, Milky Way.
- Contempole
- Crimped Pincushion (2010).
- Crispy Inline (classy)
- Crooked Marker, Marker
- Crop Circles
- Crownbar.
- Curls And Twirls
- Cut Here
- Daisies (nice rounded square letters with painted daisies)
- Decoscriptic, Decoish.
- Diamonds Are Forever, Liberty (dot amtrix fonts)
- Didactic fonts: Back to School.
- Digital, Digital Whimsy (gorgeous fonts in which the meat of the glyphs is made up of 0's and 1's), Digital Italics, Digital Non-italics.
- Dingbats: Digital Biz Bitz (2012), Capitalist Pictograms (2012), Kapitalist Kit (2011), Weather System (2011), Twelve Days of Christmas (2010), Learning For Business (2010), Calder Symbols (2010), Mad Aliens (2010), FSEmoticons, Maven Pictograms, Temp (weather dings), Sports Wave, Bullet Arrows
- Dinner at 8
- Diode
- Directional
- Ditier Cycles (2010): a grunge version of J. Hughes's Dirt Cycles.
- Disco Ball, Disco Salvation.
- Doggie Tracks (2010).
- Dollars and Cents.
- Domestic Bliss (+Solid), Blissful Hearts (Valentine's Day alphadings).
- Domino, Dominodot
- Dot matrix fonts: Zephyrelli (2012), Yoyo (2012), Carousel (2011), Corsivo Punti (2011), Wisp (2011), Amusement (2011), Menagerie (2011), Junk (2011), Iphont (white on black dot matrix face), Lyrical (dot matrix script), Petits Pois, Elli, Industrial Magic, Wind Chime, Domestic Bliss (2010, +Serif, +Sans Serif), Ying Yang (2009)
- Double Decker
- Eau de Kerning.
- Efficiency (2010).
- Eiffel family: mechanical.
- Emergency
- eq Regular, eq Radio Waves, eq Tight.
- Erector Set (2010).
- Extension Cord
- Fairy Tale (curly)
- Fantastic
- Fast Cars, Fast Lane, Fast Forward
- Fifty Famous Fairy Tales (bi-lined and bejeweled)
- Flair Ornate, Flaired Script, Flair, Flaired
- Floor Plan
- Flash (gridded face)
- Folk Art (wooden plank simulation)
- Font Troll
- Fractal, Wireframe, Hemisphere, Origami (now Mummification): experiments in glyph partitioning.
- Funk, Funky palms
- Gemstone (letters in a mosaic)
- Glyphs made from broken objects: Broken Combs, Broken Glasses
- GI Joe
- Grain
- Graphont
- Grid1, Grid2, Pas De Grille Pli Isométrique (+Plombé), Grille Noir Pli Isométrique (+Plombé), Grille Intrépide Pli Isométrique (+Plombé), Grille Facile Pli Isométrique (+Plombé).
- Grunge faces: Feather (2010).
- Gummy (2010).
- Happily Ever After (2010).
- Heath Robinson (gorgeous mechanical font).
- Hexcavated (2010).
- High Anxiety.
- High Wire (dotted).
- Honeycomb Black (hexagonal).
- Horizontally Phased (like IBM logo from afar), Vertically Phased, Field Goal.
- Hot Diggity Dog (2010): a monoline rounded sans.
- Void.
- Inline: Hi-Fi Deco, Track (+Filled), Crispy Inline
- Imperfect Optical Experiment.
- Ironside, Ironworks.
- Isomixed (+Inline, +Inverted, +Light, +Inline Light), Isomixerd Moire (nine textured styles).
- Jacks (2010): a stitching font.
- Jeannie
- Jelly Bean series: I's, Wide, O's, Split
- Jetsons
- Jolly Swash 9+Tall, +Tall Wide Tail).
- Kaleidoscope, Kaleidoscope Solid
- Kitchen tile faces: MadisonAveAvenue (2010), Edgar Fernhout (2012).
- Lace
- Ladder
- Last Days Of Summer, Endless Summer, Beach.
- Lattice, Lattice Black
- Lean
- Leaves
- l-e-display
- Little Miss Muffet.
- Loom.
- Love, Love Letters
- Martini
- Metroliner and Metroliner Deluxe.
- MICR fonts: Wedge Solid.
- Mike
- Mitered, Zietgeist: striped 3d faces.
- Modal.
- Modern Ancient (chiseled font imitation)
- Molecular (+Complex, +Complex 1), Dense Molecular Complex (1 through 5), Molecular Architecture, Tessellation 1 (+Continuous), Tessellation 2.
- Monkey Bars.
- Montreal (+Italics)
- Monumental, Less Monumental,
- Mortar Booted (+Thick, Separated, Mission, Booted Mission).
- Mouthy
- Music fonts: Fret Full (2010), Fret Station (2010).
- MyBlock
- Mystere (2012, grunge).
- Necklace
- Ninja.
- Oblique
- Octovision Remix
- Open&Shuttered Day, Open&Shuttered Night
- Oriental simulation/look: Shoji Pixel, Shoji Stage&Screen Soapbox, Chinese Democracy, Asian Influence.
- Origami City (2010): formerly Simply Elevated Black. Simple Elevation (2012) is in the same family.
- Outline Habitat
- Pallina (2010, + Stampino, +Diluente).
- Palm, Tall Palm
- Paperclip faces: Neue Werner Paperclip (2012).
- Patterns
- Pavers
- Piccadilly (2010).
- Pipes
- Pisa.
- Pixel Dust, Pixels Dusted
- Plaid
- Pop Arc (2010). In the same style: Conveyor Belt, Milk Bottle, Cookie Cutter, Erector Set (2010).
- Popsicle Sticks (nice vertically striped glyphs).
- Playbook (2010).
- Power Grid, Power Gridlocked
- Process This (2010) and Flowcahrt (2010): based on graphs of computer programs.
- Pump Boys (2010).
- Puzzle
- Quagmire (2010)
- Radio Waves
- Razorback Block
- Receipt (2012): a dot matrix face.
- Regular Habitat
- Relativity
- Remixintag (2011, a clone of Wallachia by Intaglio).
- Repeat
- Ribbodini (2010, ribbon font).
- Riveted
- Road Trip
- Satellite
- Sausalito Nautica (2011).
- Say What? (Exaggerated ink trap face)
- Scaffoldini (2010): a 3d gridded face. Followed by Scaffo (2012), Scaffoldini Senza Griglia (2010), Scaffoldini Ascendente Contrario SG, Scaffoldini Ascendente Senza Griglia, Scaffoldini Contrario Senza Griglia, Scaffoldini Ascendente, Scaffoldini Contrario, and Scaffoldini Ascendente Contrario, Scaffoldini Prospettico (+Contrario, +SG).
- Scichosis.
- Scripts: Diode (+Dioded, Diodoubled, Diodocked, Diodedocked, Diodiced), Scherzando, Fontstitution, Rough Script, Scriptilicious, Whipped Cream, 45 Degrees.
- Skulls, Skully
- Slice N dice
- Skyscraper.
- Small Wonder, Small World
- Snowflake (2010).
- Soap.
- Sole
- Soma (2009): 3d letters mades from cubes.
- Spooky Eyeballs (2009).
- Squiggles
- Stained Glass, Stained with Cross
- Starburst
- Stencil fonts: GI Joe, Kid's Stencil (white on black), Black Tie, Matchstick, Stensei, Stencillated, Tri-Fold, Tri-Fold Cut, Tri-Fold Rounded, Stencil, Stencil Plate, Stencil Face, Semi Stencil, Psuedo Stencil, Psychedelic Stencil.
- Stitching fonts: Sampler
- T-Shirts on a Clothesline
- Swamp Frog and Tadpole: artsy fat letters
- Swamp Funk, Mojo (curly letters)
- Swatches.
- Tabular
- Tall Habitat
- Techno look: Technified, Slick, Tangential (2010).
- Tanqueray (2010): octagonal face.
- Teepee (wood look)
- Tennis themed: Racket, Net Ball, World Cup.
- Tetrominoes Black (2010): a 3d face cloned from TP2 Marriott's Tetrominoes.
- Textile
- Texture fonts: Global (2011, globes), SS Half Tone (One, Two, Three), SS Watermark, SS Silk Screen (2010). These brush texture faces were cloned from Swifted Strokes by Mike Lee. Tramarada (2011) has a stunning woven look.
- Thalistic.
- The Adventure of the Dancing Men (2011, dingbats).
- The Big Top
- The Real McCoy
- Tiki.
- Time
- Timpani, Timpaniless, Timpaniblok, Alien Crop Circles (outer space face).
- Toothpaste (2011): imitating oozing toothpaste.
- Trapezoidot, Zoidot, Dotz (dotted faces).
- Upright connected scripts: Madie (2009)
- Valentine's fonts: Hearts and Flowers, Hearts and Arrows, Keys to your Heart, Bed of Hearts
- Vapors and Mirage: evaporating glyphs.
- Vibration (2010). This multiline typeface was followed by Echo (2010).
- Victorian fonts: Alouette, Swamp Funk
- Void.
- Waveform
- WPA Household Arts Stripes, WPA Household Arts Chex, WPA Household Arts (poster stencil face)
- Wee The People, Small World.
- Werner Paperclip (2009), Paperclip (2010): paperclip faces after a 1974 original by Ad Werner.
- Western fonts: Bolo (2010), Bow Tie (2010), Bowl (2010), Western Doodle, Sparky, Buckaroo, Diamond Buckaroo, Saloon and Desert Rose. Western style alphadings: Cart Before The Horse, Wagon Train
- Weird
- White on black faces: Tabs, Dot Keys, Rounded Keys, Block Keys, Keys.
- Wiggles
- Wim Crouwel-related fonts: Unknown Crouwel #1, Edgar Fernhout (a Wim Crouwel tribute font in kitchen tile style taken from a 1963 poster), Kalender 1976 Letters (octagonal based on a Wim Crouwel calendar from 1976), Kalender 1976, Brusselmans (based on a Wim Crouwel poster), Rabobank (based on a Wim Crouwel poster), Brabant (based on a Wim Crouwel poster)
- Woodcut, Woodcut Recut, Woodcut Banjo.
- Woven.
- Wrenched
- Yay Team
- Zebeast (Zebra-striped letters)
- Zodiac Block
In 2012, he added these fonts at MyFonts: Architect, Carousel, Check Mate, Cobblestones, Cruise, Dog Tag, Domestic Bliss, Fifty Famous Fairy Tales, Fratturato Digitale (pixelish blackletter face), Ghost Town, Jackpot, Jelly Bean, Keyboard, Kingdom (a castle font), Lagniappe (Victorian), Lyrical, Madie, Menagerie, Q Typ, Scaffo, Sprinkle, Stained Glass, Sweet Valley, Toothpaste, Vibration MF, Yoyo, Zephyrelli. Klingspor link. Dafont link. Fontspace link. Additional URL. Myfonts link. MyFonts foundry link. View Wilson Thomas's commercial typefaces. [Google]
[MyFonts]
[More] ⦿
|
TYPE DESIGN INFORMATION PAGE last updated on
Thu May 23 02:58:40 EDT 2013
Or Berne Nadall. This designer (b. 1869, Louisville, KY) studied at the Louisville School of Design, worked briefly for some newspapers in Lousville, and then left for Chicago, where he worked for Barnhart Brothers & Spindler (The Great Western Type Foundry). For BBS he designed borders, ornaments, and some typefaces such as Faust Text (1896), Fifteenth Century (1898), Tell Text (1898) and a typeface now known as Nadall (1895-1896, BBS). The last typeface was digitized by 
Jenkins, KY-based designer of Art Brush and 
Designer from Lexington, KY, (1919-1999), most famous for creating 
Advertised as 
![: With Patricia Saunders and a team of ten, he co-designed the Arial family at Monotype, an outgrowth of a program for low resolution sans faces started in 1982. I do not have to add anything here---Arial was made to mimic Helvetica and to adopt the same metrics. No other motivation. No higher artistic ideals. No admission from Nicholas, and no apologies. Arial is a stained 1982 stamp on the rest of Robin Nicholas' life. Still at Monotype, he made Nimrod (1980), which was first used by the Leicester Mercury in its year of introduction. Nimrod became a popular newspaper type. He created Plantin Headline Condensed (1995). He had a hand in the development and revival of Bell, Centaur, Clarion (a newspaper text face), Janson, Van Dijck and Walbaum, all between 1982 and 1989, all at Monotype. A blurb: Nicholas has directed the design of fonts such as the Clarion and Columbus fonts, as well as the digital versions of many Monotype faces including the Bell, Centaur, Dante, Monotype Janson, Fournier, Van Dijck, Monotype Walbaum, Bulmer and Pastonchi designs.He had a hand in Columbus (1992, Monotype). Ascender writes: Columbus has a fresh and lively hand-drawn feel but works well with today's computer systems and printers. An excellent text face, Columbus can also be used for display in advertising, posters, flyers and headlines, where the true elegance and beauty of the letters can be seen. Columbus was designed by Patricia Saunders and directed by Robin Nicholas in 1992 to celebrate the quincentenary of the voyage from Spanish shores by Christopher Columbus. The regular weight is based on types used in Spain by Jorge Coci circa 1513, and the italic is derived from a font cut by Robert Granjon circa 1543 and used by Bartolome de Najera in 1548 to print a famous manual by the writing master Juan de Yciar. He has done custom font projects for British Airways, Scandinavian Airlines, Barclays Bank, Opel automobiles (see Opel Sans; more here on this derivative of Futura; posted here), and Ikea (Ikea Sans is based on Futura and Ikea Serif on New Century Schoolbook). In 2003, he published the Felbridge family and Fairbank MT (a chancery hand) at Agfa-Monotype. Cambria, Jelle Bosma's 2006 typeface for Ascender and Microsoft, was a joint effort with Steve Matteson and Robin Nicholas. In a project started in 2002 at Monotype, and finished in 2005, he created Bembo Book. Monotype's page explains: Originally drawn by Monotype in 1929, Bembo was inspired by the types cut by Francesco Griffo and used by Aldus Manutius in 1495 to print Cardinal Bembos tract de Aetna. A beautiful design with tall ascending lowercase and elegant letterforms, Bembo has been a favourite for book setting for over 70 years. No italic was used in the Aldine de Aetna work so another source was needed. This was found in a publication by the writing master, Giovantonio Tagliente, produced in Venice circa 1524. Considered by many to be one of Stanley Morisons finest achievements during his tenure as Typographical Advisor to the Monotype Corporation, Bembo has consistently been a best selling typeface, both in its original hot metal form and in todays digital formats. Not intended to be a facsimile of Manutius work, Bembo was drawn to embody the elegance and fine design features of the original but marry them with the consistency of contemporary production methods and to ensure that the typeface would work satisfactorily with high speed printing techniques. The first phototypesetting and digital versions were based on hot metal 9 point drawings. This gave good legibility in small sizes, due to a comparatively large x height, but lacked some of the elegance present in larger hot metal sizes. This new digital version of Bembo, called Bembo Book, has been designed to be more suited to text setting in the size range from 10 point to 18 point. Based on the hot metal 10/18 point drawings, which were used to cut all sizes from 10 point to 24 point, this new face has been carefully drawn to produce similar results to those achieved from the hot metal version when letterpress printed. The project started in 2002 when a high quality UK Printing House asked for a digital version of Bembo which would give a similar appearance on the page to the 13 point hot metal they were currently using. Hot metal drawings were digitised and extensive editing was carried out on the resultant outlines to ensure that design features and overall colour from the digital output remained close to that of the letterpress product. The resultant typeface is slightly narrower than existing digital versions of Bembo, it is a little more economical in use and gives excellent colour to continuous pages of text. Ascending lowercase letters are noticeably taller than capitals, giving an elegant, refined look to the text. In 2009, he codesigned Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Alice Savoie, also working at Monotype Imaging's UK subsidiary, and Delve Withrington based in the U.S. The sales pitch: According to Nicholas, the idea for the Ysobel faces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. View the typefaces made by Robin Nicholas. [Google] [MyFonts] [More] ⦿](https://www.dropbox.com/s/z1z47neuduj4lxs/PROMESH%20FONT.zip">free</a>. [<a href="http://www.google.com/search?hl=en&q=%22Paul Reis%22&btnG=Google+Search&aq=f&oq="><font color="7A3856">Google</font></a>]
[<a href="fonts-66572.html"><font color="B2015C">More</font></a>] <a href="fonts-66572.html"><font color="B2015C" style="bold"> ⦿</font></a>
</P></TD></TR>
<TR><TD VALIGN=TOP ALIGN=RIGHT WIDTH="21%"><P><A HREF="http://www.behance.net/RachaelSinclair" TARGET="new">Rachel Sinclair</A>
</P></TD><TD VALIGN=TOP WIDTH="79%"><P>
Illustrator and fine artist in Louisville, KY, who confesses to many art nouveau influences. Her only entrance in the world of type design thus far is her typeface <a href="RachelSinclair--Fibonacci-2011.jpg">Fibonacci</a> (<a href="RachelSinclair--Fibonacci-2011b-.jpg">2011</a>), which is <a href="RachelSinclair--Fibonacci-2011c.jpg">based</a> on the golden ratio and the so-called Fibonacci sequence. The curves of the Fibonacci spiral inspired the shapes of the glyphs in the font, and magically, it has an art nouveau look because of it. [<a href="http://www.google.com/search?hl=en&q=%22Rachel Sinclair%22&btnG=Google+Search&aq=f&oq="><font color="7A3856">Google</font></a>]
[<a href="fonts-56868.html"><font color="B2015C">More</font></a>] <a href="fonts-56868.html"><font color="B2015C" style="bold"> ⦿</font></a>
</P></TD></TR>
<TR><TD VALIGN=TOP ALIGN=RIGHT WIDTH="21%"><P><A HREF="http://www.myfonts.com/person/Robin_Nicholas/" TARGET="new">Robin Nicholas</A>
<BR><a href="http://www.myfonts.com/person/Robin_Nicholas/"><img src="MF.png"></a>
</P></TD><TD VALIGN=TOP WIDTH="79%"><P>
Born in Westerham, KE (1947). He joined the Monotype drawing office in 1965 and moved to the type design department in 1968, where he became manager in 1982. In 2009, he is head of typography at Monotype. <a href="http://www.klingspor-museum.de/KlingsporKuenstler/Schriftdesigner/Nicholas/RobinNicholas.pdf">Klingspor link</a>. <a href="myfonts-robinnicholas">Robin Nicholas){kind=link}
