NOTE: The following specimens are set in a 10 point type size, except Centaur, in 14 point, and Eldorado, in 11 point, which were the only sizes available for this book. BASKERVILLE, the fine transitional face named for the eighteenth-century English printer, is available in several contemporary versions. The Linotype cutting used here, most faithful to the original Roman, was produced from a complete font cast from the original matrices, exhumed at Paris in 1929. For twenty years Baskerville has been a favored type with American book-makers. BASKERVILLE was used for setting Benjamin Franklin: Printer and Publisher, pp. 352-367. BELL, the fine English transitional-modern, was cut by Richard Austin about 1788 for John Bell, a leading English book and newspaper publisher. The English Monotype version used here was reproduced in 1931 from the original punches, then in possession of the Stephenson-Blake foundry in Sheffield. Bruce Rogers used the type (calling it Brimmer) for many fine Riverside Press books. BELL was used for setting Some Tendencies in Modern Typography, pp. 306-312. BEMBO, the fine Venetian old face, is a revival by English Monotype of one of the earliest Aldine romans. That was cut before 1500 by Francesco Griffo of Bologna, the designer responsible for the first Italic type a half-dozen years later, and named for Pietro Bembo, the humanist scholar (later Cardinal and secretary to Pope Leo X), whose De Aetna was printed by Aldus in 1495. BEMBO was used for setting Printing Should Be Invisible, pp. 109-114. BODONI BOOK, a light weight rendering of the popular A.T.F. Bodoni, is widely used in the United States for book and periodical composition. Introduced in 1910, it is not a copy of the types of the great Italian, Giambattista Bodoni, but rather a version retaining his principle of modern letter design. The lessened degree of contrast between its thick and thin lines make it gain in reading ease. BODONI BOOK was used for setting Harsh Words, pp. 321-336. CALEDONIA, a contemporary Linotype face designed by W. A. Dwiggins, was inspired by the work of Scotch type-founders, in particular by a lighter weight, more slender transitional face cut by William Martin for Bulmer around 1790. Christened for its forebears, Caledonia resembles neither—though it has touches of both Bulmer's Martin and Wilson's Scotch, and also "something of the simple, hard-working, feet-on-the-ground quality of Scotch Modern." CALEDONIA was used for setting Author and Printer: G.B.S. and R. & R.C., pp. 381-401. CASLON, the great eighteenth-century English old style, has suffered more from "improvement and refinement" by succeeding generations of type founders than most celebrated types. A development based on Dutch models rather than an original creation, Caslon has been eloquently termed "the finest vehicle for the printed conveyance of English speech that the art of the punch-cutter has yet devised." Monotype's excellent rendering used here (No. 337) reflects the essential qualities of the original. CASLON was used for setting Typographic Debut, pp. 78-82 and Metal-Flowers, pp. 83-84. CENTAUR, a distinguished Italian Renaissance face designed by Bruce Rogers, was cut by Robert Wiebking of Chicago in 1914, in the 14 point size. Its first use by BR was in a limited edition of De Guerin's The Centaur, printed at Carl Rollins' Montague Press. The face, recut by English Monotype in 1929, seemed to D. B. Updike to be "one of the best Roman founts yet designed in America." The Italic is Arrighi, designed by Frederic Warde, used since there is no Centaur Italic. CENTAUR was used for setting Paragraphs On Printing, pp. 281-289, and B.R.: Adventurer With Type Ornament, pp. 290-305. DEEPDENE, designed and cut by Frederic W. Goudy in 1927, was named for his estate at Marlboro-on-Hudson. In his A Half Century of Type Design, Mr. Goudy mentions the face was "suggested by a Dutch type (the Lutetia of Van Krimpen) which had just been introduced ... but as with some of my previous designs, I soon got away from my exemplar to follow a line of my own." The Monotype recutting, done later, is used here. DEEPDENE was used for setting Types and Type Design, pp. 267-273. ELDORADO, the latest Linotype face designed by W. A. Dwiggins, was developed through the war years and completed in 1951. It was suggested by an uncommonly compact and distinctive eighteenth-century face used in Madrid by the Spanish printer, DeSancha. In no sense a copy, Eldorado retains in its letter anatomy something of the treatment of curves, arches and junctions that brought distinction to its antecedent, as well as flavor of Spanish typographic tradition. ELDORADO was used for setting What is a Private Press, pp. 175-181. ELECTRA, an original modern, designed for Linotype by W. A. Dwiggins, reflects the warmth and distinction of his personal lettering. The effort was to work into Electra letter shapes, where possible, some of the twentieth-century spirit: electricity, high-speed steel, streamlined curves, the readers' familiarity with newspaper and type-writer faces ... to develop letters filled with energy, human warmth and personality. Electra is available with either an oblique Roman lower-case companion form, or the more familiar cursive. ELECTRA was used for setting the Investigation Into the Physical Properties of Books, pp. 129-144 and Twenty Years After, pp. 145-152. EMERSON was designed by Joseph Blumenthal and cut by Monotype in England in 1934. The face is a duplicate of his Spiral Press type, designed several years earlier and cut for him by Louis Hoell in Frankfort, Germany, in 1931. This face was initially used for a limited edition of Ralph Waldo Emerson's essay on Nature, printed on a hand press at Croton Falls in 1932, and privately published. The accompanying Emerson Italic was designed in 1936. EMERSON was used for setting Typography of William Morris, pp. 233-238. FAIRFIELD, a slightly decorative, original and contemporary old style, was designed for Linotype by Rudolph Ruzicka, the distinguished American wood engraver. Sharply cut, as though the letters came from the artist's graver rather than pen, Fairfield was designed for reading by "one of the most knowledgeable men in the country about letter forms and their style." To invite continuous reading, the designer feels, "type must have a subtle degree of interest and variety of design." FAIRFIELD was used for setting The Fun and Fury of a Private Press, pp. 220-225. GARAMOND was introduced in America by ATF in 1919, when their cutting, based on the caractÈres de l'UniversitÉ of the Imprimerie Nationale, appeared. Since, at least eight other versions have been made: by the English and American Linotype and Monotype, by Intertype, Ludlow, and the Stempel foundry. A documented article considering the XVI and XVII sources of the Garamond types, by Paul Beaujon, appeared in The Fleuron, V. This version is the American Monotype. GARAMOND was used for setting Colophons, pp. 31-44. GILL SANS, designed by Eric Gill in 1928, was patterned after lettering done for the Douglas Cleverdon book-shop in Bristol. First offered by English Monotype as a titling font (caps, figures and points only), the lower-case was added as the face grew in favor. Today, Gill is the most popular sans serif in England. It ranges through a variety of weights, including light, normal, heavy, extra heavy, and shadow and outline display and condensed versions. GILL SANS was used for setting Notes on Modern Printing, pp. 350-351. GRANJON was designed for Linotype by the late George W. Jones, one of England's greatest printers. It is neither a copy of a classic face nor an original creation, but rather something between the two, with its basic design stemming from classic Garamond sources. An exceedingly compact and useful old style, Granjon is exceptionally clear in small sizes. Its space-saving virtues are important in the book and periodical field. GRANJON was used for setting Printers as Men of the World, pp. 88-102. JANSON, the distinguished seventeenth-century old style face, is presumed Dutch in origin. It was issued by Anton Janson, a Leipsic punch-cutter and type-founder, between 1660 and 1687. Little is known of Janson to supplement his first type specimen issued in 1675. The original matrices, bought in Holland from the heirs of Edling, Janson's successor, are possessed by the Stempel foundry in Frankfort, Germany. The Linotype recutting of Janson was made from type cast from the original matrices. JANSON was used for setting all the essays in this book excepting those indicated in other faces. MONTICELLO is a recutting of the famous Binny & Ronaldson Roman No. 1, a distinguished early American face cut in 1796 in Philadelphia. Type cast from the original matrices by A. T. F. has been favored for years by such discriminating printers as D. B. Updike, Fred Anthoensen and the Grabhorns. Linotype's remodeling of the type for modern use was named for the Papers of Thomas Jefferson, a fifty-volume publishing project by Princeton, for which the face was adopted. MONTICELLO was used for setting the First Work With American Types, pp. 65-77. PERPETUA was designed by Eric Gill, the eminent English sculptor and maker of letters with pen, chisel and graver. Mr. Gill's account of his type (cut in England): "from drawings made by me. Those drawings were not made with special reference to typography—they were simply drawn with brush and ink. For the typographical quality of the fount, as also for the remarkably fine and precise cutting of the punches, the Monotype Corporation is to be praised." PERPETUA was used for setting Typography, pp. 257-266. POLIPHILUS is a literal reproduction of the Aldine Roman used in the Hypnerotomachia Poliphili in 1499, cut by Francesco Griffo. The recutting, by the English Monotype organization in 1923 (from sheets of the book) was attempted with the thought of providing a type to convey an old-world atmosphere appropriate for reprinting fifteenth-century classics. The accompanying Italic, named Blado, was the first of a number of Chancery italics to come from European type-founders. POLIPHILUS was used for setting Some Collectors Read, pp. 191-211. TIMES ROMAN was designed by Stanley Morison for the London Times, and first used in that great newspaper. Its masculine simplicity, directness of design and excellent color makes it exceptionally useful for periodicals and general commercial work. The basic design objective of maximum legibility in minimum space has resulted in the larger letter-structure that makes each point size seem the equivalent of a size larger in most other types. TIMES ROMAN was used for setting The First Principles of Typography, pp. 239-251. |
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