Type and Typography

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TYPE AND TYPOGRAPHY

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Printed in the United States of America
Library of Congress Catalog Card No 63-19221

Â© 1963, Reinhold Publishing Corporation, New York
PREFACE
This volume, intended as a practical workbook for
the graphic designer, is concerned with type and
typography.
It shows carefully selected, complete alphabets of
the best type faces commonly available, or becoming
available, in the United States.
These type faces, together with other relevant mate-
rial, including information on sizes, comparisons of
cuts, recognition traits, photo lettering, photo type
setting, and some romantic and exotic faces are co-
ordinated in a single volume.
The types represented here constitute the de-
signer's basic arsenal of faces. A finely conceived,
drawn and cut group, each face is shown in full alpha-
bet, including numbers and punctuation.
The basic family groups are shown in sizes which
range from 72 point down to 18 or 16 point in foundry
or hand-set type. Within each font of foundry type,
lines are separated by two points of lead or a hairline
mounted on the up side of a 2 point body.
Where practical considerations allowed, the show-
ings include comparative cuts as rendered by differ-
ent foundries.
From 14 point down to 8 or 6 point, each family face
is set by machine in text form. To illustrate various text
settings, the type is shown solid and both two and four
points leaded.
A relatively full showing of individual types, plus the
author's freedom to choose from many sources is a
suitable framework in which to assemble a useful col-
lection, selectively chosen for excellence. The type
thus chosen has been set in a manner believed to be
the most useful for readers.
A measure of perspective is provided by a brief look
at the history of type, the origins of type, and its richly
complex traditions. Technical data considered of use
to the designer has also been included.
Special attention is directed to the "Specialists'
Pages" by articulate and inventive practitioners in
various design and technical fields who have con-
tributed comments of interest to every designer.
Each statement, based on many years of experience,
reflects an individual effort to achieve a measure of
beauty and effectiveness while functioning efficiently
under the rapidly-shifting pressures of the dynamic
American economic structure.
This volume attempts to focus on the day-to-day
needs of graphic designers, art directors, industrial

and architectural designers, advertising and promo-
tion personnel, graphics students and many others
concerned with type. It is directed to all those who,
while daily serving in the market place, also do battle
against banality and tastelessness.
A complete type library would include distinguished
books encyclopedic in scale and specifically literary,
historical, or esthetic in their frame of reference.
To round out a broad knowledge of the subject,
typography students will find it to their advantage to
consult the specialized periodicals and publications
which show type in use.
Scholars, typophiles and others who may wish to
pursue this subject further should consult the many

fine works which bear the specialist's stamp.
It is hoped, however, that the type included here
has been selected and presented in such a way that
this volume will become an invaluable workbook in
the designer's library.
Limitations of time, money, distance from sources
â€” to name but a few â€” add to the complexity of pro-
ducing such a work. The dependence of the author on
the good will, cooperation and assistance of so many
In preparing a work of this nature, the setting and
proving of type is a highly critical function.
I therefore, with deep appreciation, thank the direc-
tors of The Composing Room for the interest, excel-
lent craftsmanship and spirit of involvement with which
the major portion of this volume was undertaken and
executed.
To York Typesetting Co. for exercising the same
virtues during the closing weeks of preparation, my
gratitude.
I also take this opportunity to express appreciation
to Richard K. Ansell, Vice President, Type Depart-
ment, Amsterdam Continental; Sidney Minson, Exec-
utive Vice President, The Composing Room, Inc.; Sy
Lemler, General Manager and Type Director, York
Typesetting Company; and Milton Mandel, President,
Ken-ro Typographic Service, Inc. for heartening sup-
port and practical assistance.
To the guest designers and craftsmen who prepared
their thoughts and examples of their work for this vol-
ume, and to Will Burtin for his perceptive foreword, I
wish to express my indebtedness.

FOREWORD BY WILL BURTIN
To the casual eye the imposing array of type faces in
this volume is visual proof of the wealth which the
interplay between creative urges and technological
advances has produced over the last 150 years.
Each type face is a piece of history, like a colored
stone chip in a mosaic that depicts the development
of human communication. Each type face is also a
visual record of the person who created it â€” his skill
as a designer, his philosophy as an artist, his feeling
for the relationship between the details of each letter
and the resulting impressions of an alphabet or a
text line.
It would, of course, be impossible to give in one
book a complete record of what has happened to type
since Didot's or Bodoni's time. The brush-stroke ex-
travaganzas of an Eckman, or a Gaudi, the creations
of Ehmcke, the polished brilliance of pen types by
^cJTngjdJer, the early jjjgrnhard-type faces, along with
many others, still await to be assembled in a form that
is different from that of a book. And they must be logi-
cally linked with the currents of the time in which they
were developed.
This book, "Type and Typography," has an impor-
tant practical function in supplying the designer with

visual information, so that he can assemble words and
lines, chosing from a variety of faces and sizes. It is
more complete than most books of this kind that I
have seen. Its usefulness should be extensive, and
lasting â€” the highest compliment which its author can
receive for his diligent effort.
It appears appropriate to consider briefly the rela-
tionship between type and design in an attempt to
evaluate where we stand now and in what direction
we may be heading.
The enthusiastic clean-up of the twenties, associ-
ated with the De Stijl and Bauhaus period, brought
forth a cultivation of sans-serif types which had a last-
ing impact on design. Traditionalist movements of the

thirties and fifties had little effect on the use of the
sans serifs in all the specialized segments of graphic
design on a world-wide basis. Significant factors in
this success undoubtedly were the enormous strides
and the leveling influence of transportation and
television.
This revolution was led originally by painters, archi-
tects and professional typographers. The increasing
separation of the visual appearance of type (as the
designer sees it) and type as a structural material
(as the typesetter sees it) was facilitated by reproduc-
tive processes which no longer printed from type but
from photographic compositions. Today's typographic
design is, technically speaking, based on photo-
composition, scissors, photostats and paste-ups, while
previously the stern limits of type and spacing ma-
terial controlled form.
In the twenties, the function of typography was out-
lined as the solving of reading and visual problems
on the logical (werkgerecht) level of type material.
Today, typographic design influenced by constructiv-
ism, surrealism and dadaism, has gained a freedom in
terms of composition, size, color, weight and spacing
of type that was hardly conceivable before. Whether
this absence of limitation is a blessing or not is a ques-

tion of more than academic importance, especially
to education.
It is characteristic of the present state of transition,
that this new freedom has not yet brought liberation
from obsolescent reading organization. Contempt for
reading functions is, however, much in evidence. De-
sign seems to aim more often than not at developing
visual riddles. In its eagerness to appear original,
much recent magazine and advertising typography
succeeds too often in being ugly, amateurish and un-
of type and the ability to analyze a message coher-
ently and in an original way is hard work. There is
also no substitute for creative effort. When the only
sense of order in recent American typographical ex-

hibitions is that many entries appear to be more or
less faithful copies of the same 1923 original, one
realizes with a shock that the creative effort is absent.
When the vaguely impressionistic type collage takes
the place of type that is composed for reading, and
the ripped-off fragment of a letter teases the eye
rather than gives pleasure or a sense of ordered
thought, we should question whether this is progress.
Preoccupation with the commercial aspects of de-
sign has led to preoccupation with the more formal
aspects of a message as well as to shallow, muddled
thinking. A commercial design can be a strong cultural
force and â€” at the same time â€” sell well, if the de-
signer understands the needs for both and is in com-
mand of his craft.
The very purpose of our alphabet is to give a visual
structure to experiences, memory and abstract
thought. A message which we hear is soon forgotten,
but the one which we see and read is more permanent
because it penetrates memory on more than one level
and can be referred to over and over again. This ex-
plains the still growing significance of typography as
a tool of world-wide communication â€” a tool which
we must improve steadily by studying it as we use it.
The history of civilization and of life itself is one of
continuous evolution. When this process is hindered,
revolution occurs. Science helps us to evaluate and
systematize, to plan and predict evolution. In addition
to daily and more mundane tasks, art and typographic
design have regained a basic importance as they can
provide short-cuts to an easier understanding of this

CONTENTS
TYPE INDEX
INTRODUCTION 3
The Designer 4
Writing of Early Civilizations 4
Derivation of Form Q
Invention of Printing 8
Revival 3
Contemporary Typography 12
TECHNICAL ASPECT OF TYPE 13
Current Processes 13
Diagram of the Parts of Type 16
Measurement Data 15
Copy Casting . . 17
Marking the Copy 17
Proofreader's Marks 18
FAMILIES OF TYPE 19
DESIGNERS' & SPECIALISTS' PAGES 209
Lester Beall 210
Eli Cantor 212
Sol Cantor 214
Chermayeff &. Geismar 216
Mortimer Leach' 218
Herb Lubalin . 220
Edward Rondthaler 222

Otto Storch . . : 224
Aldo Novarese . . 226
Hermann Zapf 226
SUPPLEMENTARY FACES 227
Text Faces . " 228
Display Faces 254
Scripts 363
Classic Styles 371
Foreign Faces 390
Romantic Styles 398

FOUNDRY FACES / Families
Baskerville ,2>
Baskerville Italic ^3
Bodoni 3t
Bodoni Italic ^32
Bodoni Bold 39
Bodoni Bold Italic 40
Bodoni Book 46
Bodoni Book Italic 46
Bodoni Extra Bold 52
Bodoni Extra Bold Italic 53
Bodoni Title 44
Bookman 59
Bookman Italic $0
Caslon 540 69
Caslon 540 Italic fO
Caslon Antique 87
Caslon Bold 82
Caslon Bold Italic 84
Caslon Bold Condensed 86
Caslon, New 78
Caslon, New Italic 79
Century Bold 106
Century Bold Italic 106
Century Bold Condensed 107

Century Expanded 89
Century Expanded Italic 90
Century Schoolbook 100
Century Schoolbook Italic 100
Century Schoolbook Bold 109
Futura Black 127
Futura Bold 121
Futura Bold Italic 122
Futura Bold Condensed 127
Futura Book 125
Futura Book Italic 125
Futura Demibold 117
Futura Demibold Italic 118
Futura Display ... 127

Futura Inline 129
/^ Futura Light 116
Futura Light Italic . . 116
Futura Medium 111
Futura Medium Italic 113
Futura Medium Condensed 127
Garamond 131
Garamond Italic . 132
Garamond Bold 146
Garamond Bold Italic 146
Garamond Light 140
Garamond Light Italic 140
News Gothic 149
News Gothic Bold 160
News Gothic Condensed 156
News Gothic Extra Condensed 158
Standard Bold 176
Standard Bold Condensed 179
Standard Condensed 178
Standard Extended 182
Standard Extra Bold Condensed 180
Standard Extra Bold Extended 183
Standard Extra Light Extended 181
Standard Light 177
Standard Light Condensed 177
Standard Light Extended 181
Standard Medium .167
Standard Medium Italic 169
Standard Medium Condensed 179
Standard Regular 172
Standard Regular Italic 173

INDEX TO TYPE FACES
Times Roman Bold 196
Weiss Initials 1 206
Weiss Roman 199
Weiss Italic 200
Weiss Roman Bold 205
Weiss Roman Extra Bold . 205
FOUNDRY FACES / Display
Aurora Bold Condensed 254
Aurora Condensed 255
Cheltenham Bold Condensed 258
Cheltenham Bold Condensed
Italic 258
Cheltenham Bold Extended 259
Cheltenham Bold Extra
Condensed 258
Cheltenham Bold Outline 260
Cheltenham Cursive 260
Cheltenham Oldstyle 256
Cheltenham Oldstyle Italic 256
Cheltenham Oldstyle Cond. 257
Cheltenham Wide 259
Chisel 261
Chisel Expanded 263
City Bold 266
City Light 264
City Medium 265
Clarendon (Haas) 267
Clarendon Bold (Haas) 268
Columbia 270
Columbia Bold 271
Condensed Gothic Outline 272
Consort 272
Consort Condensed 273
Consort Light 273
Didot . 274
Didot Italic 275

Egyptian Expanded 276
Egyptian Expanded Open 277
Engravers Bold 279
Eurostile Bold Extended 279
Eurostile Extended 282
Folio Bold 287
Folio Bold Condensed 289
Folio Extrabold 289
Folio Light 285
Folio Light Italic 286
Folio Medium 284
Folio Medium Extended 291
Folio Medium Extended Italic 292
Fraktur 16-1 295
Fraktur 16-2 295
Fraktur 16-3 . 296
Franklin Gothic 297
Franklin Gothic Extra Cond. 298
Hellenic Wide 299
Horizon Bold 305
Horizon Light 301
Horizon Light Italic 302
Horizon Medium 304
Latin Bold Condensed 308
Latin Elongated 308
Latin Wide 306
Lightline Gothic 309
Lining Litho Bold 310
Lining Litho Light 310
Lining Plate Gothic Bold 310
Lining Plate Gothic Heavy 310

Left: Impression from
Babylonian cylinder seal.
Below: Petroglyph found in Wyoming.

Above: Sumerian hymn inscribed in clay.

INTRODUCTION
To inform, to explain, to exhort, to persuade, to sell â€”
all have become driving needs for most contemporary
societies.
If, as one modern writer suggested, human history
is a race between education and catastrophe, the
problem of communication may well be decisive in the
outcome of that race.
We see about us profound new developments, not
only in the physical sciences, but also in the areas of
religion, art, psychology, sociology and commerce.
Modern man focuses intently on how to understand
and to learn, and how to exchange with his fellows the
fruits of this understanding. He does this not only that
he may survive, but that his survival may have mean-
ing and value.
With each significant advance in literacy and cul-
ture by the newly emerging nations and each leap for-
ward in science and invention by the industrialized
countries, there appear simultaneous needs to pro-
claim, instruct or convince.
A large share of this communication within and be-
tween the nations of the world is carried by graphic
designers of every level of skill and inventiveness, and
occasionally results in work of surpassing beauty and

refinement. This visually-oriented output attains a
staggering scale as it expands in response to the un-
precedented surge of the American economy, and
more recently, the European markets. The designer's
stature can be measured by his response to the pres-
ent requirements of effective space advertising, con-
sumer publication needs, expanding communications
systems, package designing, promotion, direct mail
publications, architectural type forms, instruction
manuals of great complexity and fund raising and
opinion shaping programs of international scope.
In the United States, the economic structure is so
varied and its potential so dynamic that the creative
craftsman in every graphic field faces a kaleidoscope

of design problems. Many hazards also present them-
selves. Techniques of graphic selling can sometimes
elevate ugliness and meaninglessness into dull na-
tional symbols.
The Designer Today
In terms of typography the designer should be fa-
miliar with the history of moveable type, which had its
roots in antiquity and its first growth on the wave of
Humanism which swept Europe in the fifteenth
century.
The designer who understands and assimilates the
experience of the past can best integrate that knowl-
edge with current methods.
Originally intended as a means of speeding book
production, type now pervades newspapers, maga-
zines, television, packages, industrial design, many
architectural forms, plus other aspects of our daily
life.
Despite arguments that ugliness and poor design
abound in every aspect of our daily lives here and
abroad, I believe contemporary graphic methods which
are evocative, visually intriguing, and functional with-
out being banal, are exerting influence on more and
more people. This hopeful turn of events is caused by
many factors, including a lively public response to well

designed products, improved advertising, better sales
promotion and graphics in general. In my view, a slow
but perceptible upgrading of mass taste is evident.
Many fine designers continue in the tradition of
needing to do things well for the sake of the doing.
Designers with skill, perseverance and dedication,
are breaking through previously accepted academic
boundaries. New applications of type and graphic
methods in the past few decades have established a
broader framework of design activities.
Thus designers are contributing much to the matur-
ing of American taste. Their understanding and knowl-
edgeable use of type is a vital part of that contribution.
The Designer Tomorrow

The designer must embrace the onrushing situa-
tions he will soon confront; new economic problems,
new political and social ideas, new revolutions in
education and science.
It is, sobering to consider, for example, how a de-
signer of the past might have reacted when con-
fronted with the scientific and commercial reality of
such concepts as atomic energy, satellite communi-
cations, jet rocketry and space ships to distant planets.
How could any designer of even the historically re-
cent Victorian era imagine a national sub-culture
such as our own 'teen-age group which would call for
a whole economic, social and cultural climate of
its own?
Indeed, how can a designer of today best prepare
for what his work might be on behalf of major Ameri-
can philanthropic foundations a decade hence?
All we can be sure of is that much will be different,
and a great deal of what is now accepted will change.
Yet the past offers illumination; we cannot sum-
marily jettison it. Even viewed against the promise of
the future, the past can be studied with profit by the
contemporary designer.
As an example of such insights from the past let us
recall the feat accomplished by Alcuin of York, abbot
of St. Martin's monastery, who, at the command of
Charlemagne, supervised the copying of all available
manuscripts into a more uniform and legible style.
But perhaps the contemporary designer's interest
in the type faces presented here will be heightened
by a brief review of how the centuries of human prog-

cuneiform writing system of angular, debossed pic-
torial signs pressed into clay or carved in stone.
The ideograms of the ancient Egyptians cut into
wood or stone were three dimensional and delight-
fully decorative. When drawn with a reed pen on pa-
pyrus, Egyptian writing was far more fluid and painting-
like in quality. Here we see clearly how the tools of
the craft have a most significant effect on form.
Very early, writing began to develop in the direction
of the acrophonic principle, the system of using a
pictorial symbol for the name of an object to represent
the beginning sound of the name such as the use of a
pen to represent the phonic value of P.
The Phoenicians, pressing further ahead on the
path cleared by hieroglyphic and cuneiform writing,
began the development of a phonetic system based
to some extent on simplifications of earlier pictorial
symbols. These are the roots of later Greek writing
from which most Western written languages derive.
Any consideration of origins of writing, however re-
stricted in scope, should not ignore the great contri-
bution made by China. Nowhere else in the world has
the art of writing enjoyed greater importance. Chinese
writing is not alphabetic and uses thousands of sym-
bols. The caligrapher enjoys a subtle rapport with

meanings based on the way in which he draws each
character and all the characters as a whole. As tone
frequently gives various meanings to the spoken word,
so character, weight, and style of drawing â€” in a few
well controlled strokes â€” imply nuances of meaning
to the written word. Calligraphy, a form of art in China,
is as highly esteemed as pictorial representation.
Japan and the Far Eastern countries offer much
opportunity for rewarding investigation, but their in-
fluence on Western type and typography is compara-
tively limited and will not be explored here.
The life situation of early man made both writing
and reading intensely significant rituals.
In primitive times, only a few persons were moved

to record events. This record is best known as pic-
tures of the hunt, the rain, the abundance or scarcity
of food. We can guess how the drawings must have
evoked passionate recognition, and re-created in the
onlooker strong sensations of joy, fear or anger.
Written communication in prehistoric times was
certainly not the daily casual attempt between and
among all conditions of folk as it is in the twentieth
century, but a recording of events and objects which
profoundly involved the scribe and his audience.
Later, as early writing began to develop from vari-
eties of symbols into more regularized, alphabetically
constructed words, the acts of writing, reading aloud
and listening remained essentially rare and precious
activities. They gained additional force because it
was usually only God's word, or the King's.
Since religion was the center of life in many early
cultures, the sacred words held listeners in a dra-
matic, almost hypnotic, state of attention. Few could
read except some members of the nobility and those
of certain religious orders.
Hieratic inscription on papyrus. Egyptian, twentieth dynasty.

It is difficult to imagine today how ardent, how
whole-souled the approach of earlier times was to the
sacred acts of writing and then reading aloud the
simplest pronouncements.
When we consider the outlook of the Medieval and
early Renaissance periods, we can understand the
seething excitement and suspense with which the first
experimenters with moveable type must have ap-
proached their new power.
Since many of the innovators of printing were
scholars in their own right, possessing most of what
they held to be the world's store of knowledge, we
can assume that they knew themselves to be bene-
factors of humanity, with a means at last for shedding
light across the Western world. The potential of their
new invention could have called forth only their best
efforts, and these early efforts still shine with beauty
and integrity across five hundred years.
Derivation of Form
The basic forms around which our types are con-
structed began to take shape in a clearly recogniz-
able way with the advent of the developed Greek
characters which, like our own, run from left to right.
The Greek system of straight lines, curves and angles,
organized into harmonious lines anticipated contem-

porary type forms and techniques by many centuries.
To this day they wield a significant influence.
By 114 A.D. in Rome, out of the same classical tra-
dition, Trajan's column was inscribed with perhaps
the best known, and certainly among the most beauti-
fully developed letters ever conceived. A classical
propensity for form, proportion and beauty expressed
in an orderly way, produced this inspiring model of
Western letter forms. This was but one of many fine
â€¢\
inscriptions, carved by skilled practitioners of the
stone cutters' craft. These noble capital or majuscule
letters were particularly well suited to represent the
strength and order of Rome.

At about this time, writing began to branch out into
many different paths. The course was one of testing,
rejecting and revising a wealth of variations on basic
techniques. Before the end of the second century the
pen drawn imitations of stone inscribed letters made
their appearance in at least five different forms: (1)
Quadrata, or square letters; (2) Rustics, a condensed
less stiff version of the Quadrata; (3) Uncials, which
were rounder and more closely reflected a pen stroke
with suggestions of ascenders and descenders; (4)
Half Uncials, a more exaggerated, looser style out of
which our concept of lower case letters seems to have
grown; and finally (5) Earlier and Later Roman Cur-
sives, a form of writing comparatively fast and flow-
ing, more closely related in character to our own
writing although remote in letter form. The latter style
also has contributed greatly to the creation of the
over-all fabric of writing and consequently to type style.
Between the fifth and the ninth centuries, two other
styles of writing emerged that were significant. First
was the Irish and Anglo-Saxon Half Uncials which ap-
peared in secular writings early in the eighth century
and are known as the Irish-Anglo-Saxon Round Hand.
In this style, as in the Book of Kells and the Lindisfarne
Gospels, two well-known Celtic illuminated manu-
scripts of the Latin gospels, integration of ornamented
letter form and illustration was carried to unsurpassed
heights in the entire repertory of Western graphic art.
In our time, graphic designers may still find sources
of inspiration among these works.
The second style was the Carolingian Minuscule, a

style. These antique letters were believed to be the
product of classical Rome and were identified as
Littera Antiqua or white-letter in writing studies. They
became the most admired style for secular transcrip-
tions shortly after printing was invented.
The twelfth and thirteenth centuries produced a
style of condensed letters with a heavier vertical
stroke which, carried to excess, became the modified
condensed form known as barbarous or Gothic black-
letter script. Later, by the fifteenth century, most
curves had disappeared and the letters became highly
condensed, angular, black and somewhat hard to read.
The latter style, called Textura, was widely employed
and became identified with religious writings.
Thus at a time when printing from movable types
was rapidly becoming a reality, the threads of many
calligraphic styles were reconverging into two single
strands, both serving as models for the form of print-
ing typesâ€”the Gothic black letters and the Littera
Antiqua white letters.
KPQS
TO
CT-LlBIU.
mnafrrommbuf
hommibuT- tmfproeft' '

fiuf- fed momm oranone- a&
\cnone
pemoneTurr Innorrfcurr Aptuf dm
fmfum-cufhvJi.tr corii&.
UgcnruT uroT ' lnxp~o
INVIGILIA
NONA311T
Jnperuni.v ct'
<tf LuicMMrmif cum,
Late ninth century manuscript. St. Gall, Switzerland

Invention of Printing
During the middle of the fifteenth century in Europe
there was again demonstrated the truism that there is
no greater power on earth than "an idea whose time
has come."
The idea of printing the Word, heretofore so pre-
cious, and inaccessible, had now arrived and found
its time in history; it now also found the men who were
needed to bring it to fruition.
Two men are most often mentioned as the inventors
of movable type and its corollary â€” printing.
Johann Gensfleish zum Gutenberg of Mainz is gen-
erally credited with the invention in 1440. But even a
brief search into the many scholarly works on this sub-
ject turns up other claims. The invention has also been
attributed to Laurens Janszoon Coster of Haarlem at
about the same time.
Books printed with movable types between 1440
and 1500 became known as incunabula â€” a term
meaning "swaddling clothes." These early products
of printing are well represented in many collections
throughout the world and are a constant source of
delight to the serious student of graphics. As John
R. Biggs points out in his excellent "Introduction to
Typography," the first printers were largely scholars,

excited by this new means for disseminating, in a
comparatively rapid way, the new ideas of the Renais-
sance. Five hundred years later, their work still pro-
claims their skill and devotion to this matchless ve-
hicle of mass learning.
The earliest printers tried to make their books look
like manuscripts, using Gothic styles of type for
sacred works, and the Littera Antiqua as the model
for secular. At first, the text only was printed and
space was left for large decorated initials to be drawn
by hand. As printing began to develop, punch cutters
departed more and more from the manuscripts of
their time. Fewer ligatures were employed; more
characters reflecting the special way in which types

were formed crept into their product. By 1500, books
were being produced in some of the most beautiful
and legible types ever to be conceived and cut.
Gutenburg, Coster, Fust, and Schoeffer, Rusch,
Nicolas Jenson, Aldus Manutius, Arrighi, Ratdolt,
Garamond, Due Pre, Caxton, Pynson â€” the list of
those whose inspired hands guided the development
of type multiplies rapidly by the beginning of the six-
teenth century.
printing process itself, we find many great artists
contributing to the progress of this invaluable tool of
learning: Tory, Estienne, Didot, Fournier, Chochin,
Plantin, Elzevir, Caslon, Baskerville; in many cases
their names have come down to us associated with
the beautiful types they created.
The craft flourished, but the art began to falter, as
speed, experimentation and self-conscious implemen-
tation of detail and ornament increased, not always
with the happiest results. Many works of the period
from 1500 to 1750 are in a state of good repair and
may be seen in fine libraries and collections in major
cities of the U.S. and abroad.
A detailed discussion of this period, so rich in ex-
ploration of techniques and in the elaboration of the
printer's art, is outside the province of this volume.
However, in the light of the shift in typographic values
and practices of the last three or four decades, I be-
lieve a complete and more favorable re-evaluation of
the sixteenth and seventeenth century works will
some day be a major contribution to type history.
By 1720 Caslon had arrived at his cut known as Old

tec
miff* (ptialce ? $r
f njmnira &ie fc fra f nitate Inrroir^
IfmOicta fit (antta trintta a
atup toiuifa Unttaa rofitc^
binf Q quia fcrit nobtfrum
\Â» 6tiDiram^ patrf
ct filium ram tancto (piritu * if o
Omipjtf e f f pjfn t lc9Â«qui tro ifti
f atmdf ruj0 in riMranm fi-
m mrnt f nitatia gf tarn agnolrcre*
et in (Dtftia matcftatia atotarc Unt
tati-qma- ut ttuf if M firmitaft*ab
(f per muianf aDutrua
t & aWtntn ^
I riai| fapietit irmtie maoa
\ tigabilcatiie ri^ f iDuia cin rognoutt
Dni-aut quia ofiliari^ ^ fnit-
Page from Constance Missal, believed
by certain scholars to have been printed
by Gutenberg prior to his celebrated bible.

EL PRINC
PIO DIOcrto
| II Cielo et L> terra.
I Ella terra en inrru-
duofa et mw et !e
tenebre en no fopra
la tacoa Del abiflo.Et
tl fptrito oel SignoÂ»
I, re era menato fopra
le acque. Uifle 010. Su fada la Luce. Et
fada e la Lucr.Et uioe 010 la luce cflcr tu
ona: et oiuifr la Luceo."illerenebre:etap'
pello la Luce oi:et le tenebre node. Et d
do e la Sera et Manna uno oi.Etiam oif'
k oio. Sm fade ll firmamento in mtzo
oele acque:il quale oiuioa le acque Dale mf
que. Et free 010 il firmamento. Et oiuife
le acque cbe erano fopto il titmameto oa
quelle cbe erano fopra il firmamento. Et
facta ecofi:etcbiamooio tl iirm.imemo
cielo.Et fado eSera et Marina il feconoo
oi. Etiam ouTe 010. Le acque cbe foÂ»
no fopto il oelo fiano cogregate i uno lu'
occ<et appatga la amoa terra: et fa do e co
fi:et cbiamo oio la amoa terra:et le cogrc

gatiom ecle acque appello mare. Et uioc
otoeflerbuono:Et oifTe êrmine la terra
U berba uirete et facia il Semeret il legno
pomi'erocbefaciit frudo feconoo lafua
cencrarione: La femenza oelquale Ca in
li meoefimo fopra la tem:et cofi fado e .
Et la terra proDufle la berba uircnte et fa'
ciente il feme feconoo la fua generarione
Et il legno facieme il frudo et bauenoo
ci.ifcbeounilfemenre feconoo la fuafpe'
tie. Et uioecio ef&r buono:et fadoe Se*
ra et Marina il terzo 01. Etiam oifle oio.
Siano tacTe dumimne nel litmamento
oel cieloEt feperino il pi ct la nodcE fia

no infigni et tempi: et pi et anni. Percbe
refplenoino nel firmamento od cielo: et
lllummeno la terra.Et cofi facto e. Et free
oio ouogtaoi Luminani.il luminare ma'
lore cbe fopraftefli .il oi:et il luminare miÂ»
not* cbe foprafreffi ala node. Et etiam fe
ceoioleSrelle. Et puofe quelle nel firma
mento od aelo:percbe 1 uceffono fopra la
rerra:et fignorizaffeno al 01 et ala node :
et oiuioefleno la Luce et le tenebre. Et ui
oe oio effer buono:et fado e fen et matr
na il quarto oi.En.i oiffe oio prooucino
le acque il repnle oel anima uiuenre et
.â€¢
h*l,:t&Â»l
First printed Italian bible. Venice, 1471.

Goudy, Rogers, and many others followed but, by
our contemporary measure of graphic design, their
influence today is limited. Revivals which do not catch
the essence of the time in which they arise appear
transparent and even insignificant in later periods.
It should be emphasized that these men of the nine-
teenth century classical revival brought the force of
personal character to their demands for integrity to
a field where this quality was not clearly in evidence.
Most accepted works on typography today take the
view that there is little merit in nineteenth century
romantic faces; I have heard authorities in the field
malign this era in typography, particularly charging it
with desecration of form and ruination of orderly, dig-
nified traditional beauty.
So we find that bitter criticism and questioning of
nineteenth century type standards have become, as
so often happens with heresy, part of the academic
dogma of our own time.
I believe that there is much to be found of inspira-
tion and value in nineteenth century type styles.
Robert N. Jones has well expressed this point of view
in an article in "Print Magazine" for May, 1960, in which
he stated: "It is my belief that there has never been
a typeface cast that is so badly designed that it could

not be handsomely and effectively used in the hands
of the right printer or designer. Further, it is my belief
that type was meant to serve more than one master.
The original concept of type was most certainly for
bookwork. However, as times changed so did the role
of type. No one, least of all Mr. H. Ihlenburg, probably
the most prolific of American type designers, or his
contemporaries, would ever have suggested his "Bi-
jou" or "Minster" for a setting of Chaucer. Ihlenburg,
Herriet, Heyer, Ruthven, Smith, Rogers and others
were designing type faces for printers who were pro-
ducing printed persuasions for a vigorous and vital
country that was expanding industrially and economi-
cally at a rate never before known in history. Ihlenburg

and his contemporaries were engaged in trying to
help satisfy the demands of what we have come to
know as advertising typography.
"It is my conviction that advertising in all its many
facets is as responsible for the literacy, the wealth and
the strength of our country as any other factor save
our natural resources.
"For whatever part these type designers played in
developing our graphic arts, abuse should not be their
LVRES FVISJ
o^lunsr<iianfI'Qm4fuiaan
t\.iimii{ amTc a. ar fain: mm
a Â«Av(anuir.
I'ovfam îovpniu-ipi.i.ur.
,-vjtuTiim
cmnun inpfcnnarum
ijiitfinefpu
i:inoiurifiuuii. nio ctvn v ucnrua
. iiiuanifniLinr pofT-fpin fimn
iiii:iri-{nf\\c(nf 'iK'nimfireofl [Vxjiu(>: a
ajL'tio io/\innif /t'ljuir. Qin/Vjuuuiremi.'
fiuTunr CcLtanentf* tjui iiainrnontjtni
crn.iir. uaitfdunr&au) non inuz&fciitKuf!
ufimiuciL) miicrintafl I7imif]ifo6ftx]u
ej}-. fci-/cfui.\uriiiuefuppin:iin c/in no
atLuninavfittvir iwinctifMcufuin fuu
rxinai iîfaiifionif"oLVu(TV inifiruuim
dammuL; tminutoa> ariiou. o
uf^'-fi mffareruaunf (hu

Today's alert designer, recognizing qualities in
many type faces previously considered "out," can
and does apply these types not only to advertising
typography but across the spectrum of graphics.
Contemporary Typography
The Bauhaus of Weimar in the post-war Germany
of the twenties was one of the first cohesive efforts
to develop a quality of craftsmanship which uniquely
related to'the technological advances that were
sweeping Europe and America. During the preceding
revival men were repelled by visible changes they
observed and sought to reinstate ancient concepts
of truth and beauty. The Bauhaus, plus a handful of
other individuals in Europe and America, sought new
values in the time itself and in its technological mani-
festations â€” values that were a part of a new age.
Much has been published on the Bauhaus; its
strengths and weaknesses have been well defined,
but it continues to be important and influential in the
graphic arts and in typography.
Certainly L. Moholy-Nagy's position is still helpful:
"Typography must be clear communication in rts most
vivid form ... for clarity is the essence of modern
printing . .."
The "new typography," pursued by the Bauhaus

masters and students attempted to incorporate into
printing all that was fresh and radical in our century's
art, science, technology and psychology. It is interest-
ing to note, for example, that Albert Einstein of Berlin
was on the Board of Directors of a group called
"Friends of the Bauhaus," which provided much finan-
cial and moral support for the institution.
New concepts in physics, mathematics and psy-
chology were in the air. New visions of time, space,
mass and energy formed the backdrop to experiments
in scale and space relationships. These new currents
also affected Bauhaus work in color, texture and other
design facets. A new wave of materials and tech-

niques flooded into modern consciousness through
this exciting channel of creative activity.
Many of the leaders of the Bauhaus fled Hitler's
Germany and came to America to teach, and to prac-
tice their crafts. Today they have become an integral
part of our vigorous and productive graphic arts which
they themselves so greatly influenced; their names
will remain as worthy symbols of the bridges they tried
to build between the artist and the industrial system,
between the fine and applied arts, between modern
man and his environment.
Some design schools in American and abroad have
taken up the fight fo'r vital and progressive concepts
of graphic invention and are trying to couple their
broad studies on this subject with highly disciplined
skills. Their aim is to interweave a study of humanities
with the craft of graphic design.
The work of designers trained in these schools
bears witness to the strong effort being made to pro-
duce an American graphic design equal to our prime
achievements in other fields.

TECHNICAL ASPECT OF TYPE
Punch of letter H.
Type-mould without matrix.
and with a type of
the letter H in the mould.
Matrix of letter H.
The early manufacture of moveable type was carried
out by hand. Molds were prepared, by means of which
large quantities of types could be cast with a degree
of precision that made printing possible. All the other
prerequisites were on handâ€”paper, ink, the concept
of the block print, and even printing presses of a
primitive sort.
The first step in preparing types must have been
the preparation of a drawn alphabetâ€”a guide to the
punch-cutter who was in some cases the designer, in
other cases merely the one to execute a design. Fol-
lowing a prepared model, a counter punch was made
and then driven into the end of an annealed steel
tool. This counter punch forced the metal away from
the inner and enclosed areas of such letters as a, e,
and g. The finished punch was formed by cutting
away the metal from the area outside each letter. By
transferring an impression into soft material as the
cutting progressed, a degree of control was exer-

cised over tBe character of each letter while it was
being refined. Tempering completed the punch. It
was then ready to have its impression struck into a
bar of softer metal. Once struck, the bar contained
the matrix which, when properly fitted, caused the
printing surface of the finished type to fall into proper
alignment. When the matrix and mold were aligned
properly the mold was ready to be poured.
Inêssence, this is the principle by which punch-
cutters originally worked, though no doubt, each had
his own ideas how to improve details of his task.
Files, gravers, various methods of abrasion and large
quantities of tender loving care went into varying this

method as each separate challenge arose.
The type metal was poured, a process requiring
skillful manipulation, then trimmed to a standard
height. Although the tolerances were great by cur-
rent industrial standards, the type was ready for use
after various finishing procedures.
Current Processes
The principle of the pantograph in recent years has
come to replace the punch-cutter's craft. The panto-
graph greatly speeds up the cutting practice and in-
creases the precision with which a type may be cut.
But it extracts its payment in terms of increased
mechanization and a decrease in variation of letters
to compensate for variation of letter sizeâ€”a prin-
13
ciple always considered by skilled punch-cutters.
A process employed by American Type Founders
follows a somewhat different course designed to
overcome some of these limitations. Greatly simpli-
ffed, the process may be described as follows:
From a hand drawn master letter, a photographic
image is transferred to a sensitized plate which is
etched under carefully controlled conditions. The
plate becomes a precise pattern for the Benton en-
graving machine, which is a routing device operating
within an extremely fine tolerance, and working on
the pantograph principle. The Benton can be ad-
justed to compensate for variables that occur when
letter sizes change. The average size letter matrix
from a typical alphabet will be precisely reproduced
as originally drawn, while small sizes can become
progressively more extended, and large sizes can be
more condensed. Another advantage claimed for the
Benton is that by routing the matrix, rather than strik-
ing a punch into it, there is less distortion.
After a painstaking fitting of matrix to mold the
type is cast, finished and ready for distribution.
Most other foundries use a modified punch method
to produce the matrix from which final types are cast,
although comparison is unconclusive since the re-

quirements of foundry and various machine types are
different in so many ways.
As the name implies, linotype composition is set
in single lines of type, each individual line being com-
posed of one solid bar of type metal. Before cast-
ing, individual brass matrices are composed by the
machine operator and then fed into the machine to
be automatically justified, cast and trimmed. The in-
dividual matrices are then automatically redistrib-
uted to be used again. After printing, the type metal
is melted down and reused.
The Ludlow Typograph machine is a device which
makes large type available without the necessity of
having to purchase multiple fonts of foundry type.

It is a type-casting machine which produces individ-
ual lines of type as in linotype composition, but jus-
tification and distribution are performed manually, as
in foundry composition.
The Lanston Monotype machine shares some of
the automatic features of the linotype machine. By
this process full lines of type are composed by the
operator and fed into a casting device. The end prod-
uct consists of individual letters, similar to foundry
type, forming justified lines of type.
14
a. The mechanical process of "cutting" the type face
begins as each character is photographed, enlarged to about
3V: inches high and made into an etching which
becomes a permanent pattern plate.
b. The zinc plate is used as a pattern in the ATF Benton
engraving machine. Each slight move of the follower within
the confines of the pattern plate is repeated in a reduced
degree by a rapidly revolving cutting tool which
engraves the matrix.
c. The engraved matrix.
d. Into the casting machines go pigs of metal.
a. The precision-cut matrix is inserted into the casting
machine by experienced operators.
f. After casting, the type is moved past a series of trimming
knives, the first of which removes the jet. Others
groove the feet, trim the edges and kern the overhang.
Photo shows the casting machine opened to expose knives.
15
DIAGRAM OF THE PARTS OF TYPE
HEIGHT
TO PAPER
.918"
POINT BODY
SET WIDTH
GROOVE â€”
FEET
NICK
FACE
COUNTER
SERIF
BEARD
SHOULDER
Measurement Data
English-American Point System
1 pt. = V12 pica
or
l/>2 inch
6 pts. - 54 pica
or
V\z inch
12 pts. = 1 pica
or
lA inch
72 pts. = 6 picas
or
1 inch*
Didot Point System
12 pts. = 1 cicero or
douze
1 pt. = 0,3759
mm
8 pts. = 3.007 mm
12 pts. = 4.511 mm
1 mm = 2.66 po
ints
1 m = 2660 points
Decimal Equivalents
inch
=6
picas,
points
Vi
inch
=5
picas,
points
V4
inch
=4
picas,
points
V.
inch
=3
picas,
points
Vl
inch
=3
picas,
points
V.
COPY CASTING
In order to convert original copy into type that will
fit, look and function as desired, one should devise
a system of efficient specification. Clear preparation
of original copy that contains all the information a
typographer needs to know is really all that is re-
quired. Here is one way to proceed.
Type up original copy. If possible, approximate the
final form you want it to take. Common sense calls
for preparation using flush or indented paragraphs,
caps and lower case letters, correct details of spell-
ing, punctuation, etc.-all typed as you wish the final
job to be. Double space for clarity.
For a rough preliminary estimate you may assume
that average typewritten copy will, when single
spaced, be roughly equal to average 14 pt. type. If
12 pt. type is under consideration, assume about 3A
of the typed area and for 10 pt. type, 1/2 the area.
This rule of thumb applies to single spaced typing
and type set solid. Allowance must be made for va-
riables. As useful as this may be for rough time-
saving approximations, it is by no means accurate.
Original Copy
To cast with accuracy, consider that the most use-
ful units of measurement are: (A) the individual line

of type, and (B) the number of characters per line.
. Start counting the original copy, taking two or three
lines, and determine the average number of char-
acters per line. Each letter, each punctuation mark,
each space between words counts as one.
L Multiply that number by the total number of lines per
page on original copy. This will give you the number
of characters per unit.
I. Multiply the number of characters per unit by the
total number of units (pages) of the original copy and
you have the total number of characters in your
original copy.
Determine the Type
Now decide on the style of type to be used. Once

again find (A) the measure (width) of line to be used,
and (B) the number of characters per line. If text
type, you will find a useful table listing the number
of characters per line at the bottom of each page of
text showing. Once you know the number of char-
acters per line, divide this number into the total num-
ber of characters in the original copy and you have
the number of lines of type your copy will set to.
All 12 point type is set on a 12 point body, 10 point
type on a 10 point body, etc.* By allowing 12 points
per line for 12 point type, you can readily determine
the precise depth a given number of lines will occupy.
This applies to all other sizes as well.
You will note that all text faces are shown 3 ways.
12 point type is designated 12/12, meaning no leading
â€”a solid setting. Under this it is designated 12/14
and 12/16 indicating slugs that are 2 and 4 point
leaded respectively.
For larger display faces, counting characters can
be done with absolute accuracy by referring to the
showings. Note that all display type is leaded 2 points.
Where hairlines are used, they are always mounted
on the up side of a 2 point body. This will be helpful
in determining the position of the face on the body.
'Except where otherwise noted.
MARKING THE COPY
Each request for type may require the specifications
listed below. Mark concisely, but fully, for best re-
sults.
1. FACE . . . Name the family or style: Garamond, Cas-
lon, Latin Wide, etc.

PROOFREADER'S MARKS
Reset in bold face
X Defective letter
J_ Push down space
9 Turn inverted letter
Delete
Insert space
Less space
^^ Close up entirely
^ Insert at this point
Â© Insert period
Insert comma
Insert colon
Move to right
Straighten lines
Move to left
Indent 1 em
One-em dash
Two-em dash
Insert semi-colon
Insert apostrophe
Enclose in quotation marks

Insert hyphen
Let it stand
Run in
"to/.
Row*.
(*7 )
Paragraph
No paragraph
Wrong font
Transpose
Reset in capitals
Reset in small capitals
Reset in lower case
Reset in italic
Reset in Roman
Verify
Spell out
Equalize spacing
Suggested use:
Q~~In this introductory paragraph /^~ and in the
vertisement reprinted belowâ€”-^we have purposely-
jk@ made typographic errors in order to show the most
^ common proofreaders marks and how they are
used. These paragraphs are followed by the cor-
Ljêcted copy, demonstrating precisely the meaning
of the marks and the changes they indicate.iThe *ft
advertisement is one that appeared as the frontis-
of- piece of Volume^Z/of^Typographia^by J. Johnson,^
fa a typographer^published in England in 1824.
SCâ€¢ J- Johnson embraces this opportunity of filling
up the present page, by announcing to the Ad-
.mlrers of the Typographic Art, and the Profession
in general, that he has now a subject in hand,
which jê flatters himself will not only eclipse -sli
his former productions, but like'~wise any piece
that has ever yet appeared befoje the Public as a
Typographic Specimen_/l will consist of an arch,
in persflrictive, supported by ten pillars, in.centre
will be a monument to the memory of Willia mÂ«
Câx^tcui, as the father of printing in this country,
together with the names of the principal early
ers and improvers of our Art; the whole will
executed with brassrules and flowers^the size
^ ^â€”*
will be eighteen and a quarter, by thirteen inches,

THE FAMILIES OF TYPE
The following types, shown in a continuous
range of sizes in both Roman and Italic,
and in a variety of weights and size modifications
starting at 72 points for foundry showings
and progressing downward to 8 points or less
in machine sizes, are designated as families.

BASKERVILLE, ATF
EFGHIJKLMNO abcde
BASKERVILLE 353. MONOTYPE
EFGHIJKLMNO abcde
All comparisons are made on 24 point type.
Character showing the monumental
quality of Baskerville capitals
Note serif details.
I
hij klmno
stuvwxyzfifffl
IJKLMNOP
QRSTUVW
XYZ&abcdef
ABCDEFGH
ffiffl!23456789
72 POINT BASKERVILLE, ATF

THE BASKERVILLE FAMILY
ABCDEFGHIJK
LMNOPQRSTU
VWXYZ&abcde
fghij klmnopqrstu
vwxyzfiffflffiffll23
ABCDEFGHIJKLM
NOPQRSTUVWX
YZ&abcdefghij klmno
pqrstuvwxyzfiffflffiffll
POINT BASKERVILLE. ATF

ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghij
klmnopqrstuvwxyzfiffflffiffll2
* ..|pÂ»Â«
ABCDEFGHIJKLMMOPQRS TU
VWXT^&abcdefghijklmnopgrstuvw
xyzffifljjiffl12345678m.;'-:;!?""
36 POINT BASKERVILLE ITALIC, MONOTYPE
ABCDEFGHIJKLMNOPQRSTU
V WX YZ&abcdefghij klmnopqrstu v
wxyzfiffflffiffll234567890$.,n-:;!?,
\Â»it
ABCDEFGHIJKLMNOPQRSTU VWXT
%&ab cdefghijklmnop qrstuvwxyzfiffflffiffl 12345
67890$.,"-:;!?" "1234567890
30 POINT BASKERVILLE ITALIC, MONOTYPE
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyzfifflffiffll234567890$

ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklm
nopqrstuvwxyzfiffflffiffll234567890$.,s-:;!?,,u
18 POINT NO. 2 BASKERVILLE, ATF
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghvjklmno
pqrstuvwxyzfifflMffll234567890$.;(-:;W
)Â»(C
18 POINT NO. 2 BASKERVILLE ITALIC, ATF
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwx
y7JjffHffiffll234567890$.,''-:;!?""
18 POINT NO. 1 BASKERVILLE, ATF
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxy
zfifflffiffll234567890$.,"-:;!?""
18 POINT NO. 1 BASKERVILLE ITALIC, ATF

Amongst the several mechanic Arts that
4 have engaged my attention, there is no
one which I have pursued with so much
steadiness and pleasure, as that of Letter-
Founding. Having been an early admirer
of the beauty of Letters, I became insen-
sibly desirous of contributing to the per-
fection of them. I formed to my self Ideas
of greater accuracy than had yet appeared,
and have endeavoured to produce a Sett
of Types according to what I conceived to
be their true proportion.
Amongst the several mechanic Arts that have
12/ engaged my attention, there is no one which I
12 have pursued with so much steadiness and
pleasure, as that of Letter-Found ing. Having
been an early admirer of the beauty of Letters,
I became insensibly desirous of contributing
to the perfection of them. I formed to my self
Ideas of greater accuracy than had yet ap-
peared, and have endeavoured to produce a
Sett of Types according to what I conceived to
Mr. Caslon is an Artist, to whom the Repub-

lic of Learning has great obligations; his inge-
nuity has left a fairer copy for my emulation,
s have engaged my attention, there is no
fection of them. I formed to my self Ideas
% engaged my attention, there is no one which I

have pursued with so much steadiness and
pleasure, as that of Letter-Founding. Having
peared, and have endeavoured to produce a
lie of Learning has great obligations; his inge-
18 have engaged my attention, there is no
/is engaged my attention, there is no one which I
lic of Learning has great obligations; his inge-
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&.,"-:;!?""
Amongst the several mechanic Arts that have en-
gaged my attention, there is no one which I have
pursued with so much steadiness and pleasure, as
that of Letter-Founding. Having been an early
admirer of the beauty of Letters, I became insen-
sibly desirous of contributing to the perfection
of them. I formed to my self Ideas of greater
accuracy than had yet appeared, and have endeav-
oured to produce a Sett of Types according to what
I conceived to be their true proportion.
Mr. Caslon is an Artist, to whom the Republic
of Learning has great obligations; his ingenuity
has left a fairer copy for my emulation, than any
other master. In his great variety of Characters
I intend not to follow him; the Roman and Italic
i Amongst the several mechanic Arts that have engaged
10 x?irty attention, there is no one which I have pursued
Xio^with so much steadiness and pleasure, as that of Let-
Y ter-Founding. Having been an early admirer of the
s beauty of Letters, I became insensibly desirous of con-
le tributing to the perfection of them. I formed to my
7 self Ideas of greater accuracy than had yet appeared',
5" and have endeavoured to produce a Sett of lypes ac-
Q cording to what I conceived to be their true proportion.

(Â£. Mr. Caslon is an Artist, to whom the Republic of
i1 Learning has great obligations; his ingenuity has left
/{ a fairer copy for my emulation, than any other master.
'5 In his great variety of Characters I intend not to fol-
1 ' low him; the Roman and Italic are all I have hitherto
(5 ment, it is probably more owing to that variety which
i(s divided his attention, than to any other cause. I honor

I conceived to be their true proportion.
Mr. Caslon is an Artist, to whom the Republic
I intend not to follow him; the Roman and Italic
'12
Amongst the several mechanic Arts that have engaged
10// my attention, there is no one which I have pursued
with so much steadiness and pleasure, as that of Let-
ter-Founding. Having been an early admirer of the
beauty of Letters, I became insensibly desirous of con-
tributing to the perfection of them. I formed to my
self Ideas of greater accuracy than had yet appeared,
and have endeavoured to produce a Sett of Types ac-
cording to what I conceived to be their true proportion.
Mr. Caslon is an Artist, to whom the Republic of
Learning has great obligations; his ingenuity has left
a fairer copy for my emulation, than any other master.
ment, it is probably more owing to that variety which
divided his attention, than to any other cause. I honor
Y gaged my attention, there is no one which I have

Amongst the several mechanic Arts that have engaged my
attention, there is no one which I have pursued with so
much steadiness and pleasure, as that of Letter-Founding.
Having been an early admirer of the beauty of Letters, I
became insensibly desirous of contributing to the perfec-
tion of them. I formed to my self Ideas of greater accuracy
than had yet appeared, and have endeavoured to produce
a Sett of Types according to what I conceived to be their
true proportion.
Mr. Caslon is an Artist, to whom the Republic of Learn-
ing has great obligations; his ingenuity has left a fairer
copy for my emulation, than any other master. In his great
variety of Characters I intend not to follow him; the Ro-
man and Italic are all I have hitherto attempted; if in these
he has left room for improvement, it is probably more
owing to that variety which divided his attention, than to
any other cause. I honor his merit, and only wish to derive
some small share of Reputation, from an Art which proves
Amongst the several mechanic Arts that have engaged my atten-
tion, there is no one which I have pursued with so much steadi-
ness and pleasure, as that of Letter-Founding. Having l>een an
early admirer of the beauty of Letters, I became insensibly de-
sirous of contributing to the perfection of (hem. I formed to my
self Ideas of greater accuracy than had yet appeared, and have
endeavoured to produce a Sett of Types according to what I con-
ceived to l>e their true proportion.
Mr. Caslon is an Artist, to whom the Republic of Learning
has great obligations; his ingenuity has left a fairer copy for my
emulation, than any other master. In his great variety of Char-
acters I intend not to follow him; the Roman and Italic are all
I have hitherto attempted; if in these he has left room for im-
provement, it is probably more owing to that variety which
divided his attention, than to any other cause. I honor his merit,
and only wish to derive some small share of Reputation, from
an Art which proves accidentally to have been the object of our
mutual pursuit.
After having spent many years, and not a little of my fortune
in my endeavours to advance thu art; I must own it gives me

great Satisfaction, to find that my Edition of Virgil has been so
Amongst the several mechanic Arts that have engaged my
attention, there is no one which I have pursued with so
much steadiness and pleasure, as that of Letter-Founding.
Having been an early admirer of the beauty of Letters, I
became insensibly desirous of contributing to the perfec-
tion of them. 1 formed to my self Ideas of greater accuracy
than had yet appeared, and have endeavoured to produce
a Sett of Types according to what I conceived to be their
true proportion.
Mr. Caslon is an Artist, to whom the Republic of Learn-
ing has great obligations; his ingenuity has left a fairer
copy for my emulation, than any other master. In his great
variety of Characters I intend not to follow him; the Ro-
any other cause. I honor his merit, and only wish to derive
some small share of Reputation, from an Art which proves
Amongst the several mechanic Arts that have engaged my atten-
tion, there is no one which I have pursued with so much steadi-
ness and pleasure, as that of Letter-Founding. Having l>een an
early admirer of the beauty of Letters, I became insensibly de-
sirous of contributing to the perfection of them. I formed to tin-
self Ideas of greater accuracy than had yet appeared, and have
endeavoured to produce a Sett of Types according to what I con-
ceived to be their true proportion.
has great obligations; his ingenuity has left a fairer copy for my
emulation, than any other master. In his great variety of Char-
acters, I intend not to follow him; the Roman and Italic are all
I have hitherto attempted; if in these he has left room for im-
provement, it is probably more owing to that variety which
divided his attention, than to any other cause. I honor his merit,
have engaged my attention, there is no
steadiness and pleasure, as that of Let-
ter-Founding. Having been an early ad-
mirer of the beauty of Letters, I became
insensibly desirous of contributing to
the perfection of them. I formed to my
self Ideas of greater accuracy than had
yet appeared, and have endeavoured to
produce a Sett of Types according to
what I conceived to be their true pro-
been an early admirer of the beauty of Let-
ters, I became insensibly desirous of contrib-
uting to the perfection of them. I formed to
my self Ideas of greater accuracy than had yet
appeared, and have endeavoured to produce a
Set of Types according to what I conceived to
Mr. Caslon is an Artist, to whom the Re-

public of Learning has great obligations; his
ingenuity has left a fairer copy for my emula-
the perfection of them. I formed to my

appeared, and have endeavoured to produce a
16 engaged my attention, there is no one which I
A BCDEFGHIJKLMNOPQRS TUV
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that of Letter-Founding. Having been an early ad-
mirer of the beauty of Letters, I became insensibly
desirous of contributing to the perfection of them.
I formed to my self Ideas of greater accuracy than
had yet appeared, and have endeavoured to produce
a Sett of Types according to what I conceived to be
their true proportion.
Learning has great obligations; his ingenuity has
left a fairer copy for my emulation, than any other
master. In his great variety of Characters I intend
not to follow him; the Roman and Italic are all I
have hitherto attempted; if in these he has left room
for improvement it is probably more owing to that
Amongst the several mechanic Arts that have engaged my .it-
i< niimi, there is no one which I have pursued with so much
steadiness and pleasure, as that of Letter-Founding. Having
been an early admirer of the beauty of Letters, I became in-
sensibly desirous of contributing to the perfection of them. I
formed to my self Ideas of greater accuracy than had yet ap-
peared, and have endeavoured to produce a Sett of Types ac-

has great obligations; his ingenuity has left a fairer copy for
my emulation, than any other master. In his great variety of
Characters I intend not to follow him; the Roman and Italic
are all I have hitherto attempted; if in these he has left room
for improvement, it is probably more owing to that variety
which divided his attention, than to any other cause. I honor
his merit, and only wish to derive some small share of Reputa-
tion, from an Art which proves accidentally to have been the
object of our mutual pursuit.
After having spent many years, and not a little of my fortune
in my endeavours to advance this art; 1 must own if gives me
great Satisfaction, lo find that my Edition of Virgil has been so

that of Letter-Founding. Having been an early ad-
mirer of the beauty of Letters, I became insensibly
desirous of contributing to the perfection of them.
I formed to my self Ideas of greater accuracy than
had yet appeared, and have endeavoured to produce
a Sett of Types according to what I conceived to be
their true proportion.
Learning has great obligations; his ingenuity has
have hitherto attempted; if in these he has left room
for improvement it is probably more owing to that
Amongst the several mechanic Arts that have engaged my at-
tention, there is no one which I have pursued with so much
steadiness and pleasure, as that of Letter-Founding. Having
been an early admirer of the beauty of Letters, I became in-
sensibly desirous of contributing lo the perfection of them. I
formed to my Â«elf Ideas of greater accuracy than had yet ap-
peared, and have endeavoured to produce a Sett of Types ac-
has great obligations; his ingenuity has left a fairer copy for
my emulation, than any other master. In his great variety of
Characters I intend not to follow him; the Roman and Italic
are all I have hitherto attempted; if in these he has left room
for improvement, it is probably more owing to that variety
which divided his attention, than to any other cause. I honor
in my endeavours to advance this art; I must own it gives me
great Satisfaction, to find that my Edition of Virgil has been so

BODONI MODERN, LUOLOW
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THE BODONI FAMILY
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filffl1234567890$.,'--;;!?^
fiffflft!234567890$., ,'-:;!?,"i

THE BODONI FAMILY
From a translation of a letter to Mr. Francis
% Rosaspina by Bodoni dated Sept. 12,1813:
You received with great courtesy the
Rector of this our Imperial Lyceum in
Parma; I am happy to think that you will
extend the same courtesies to the Censor
of said institute. Beside being my friend,
and a very worthy ecclesiastic, he is the
brother of a great friend of mine, who has
a great name in the republic of letters, and
among the sacred orators living. Do please
be liberal of your favors to him during the
12,
12
From a translation of a letter to Mr. Francis Rosa-
spina by Bodoni dated Sept. 12, 1813:
You received with great courtesy the Rector of
this our Imperial Lyceum in Parma; I am happy
to think that you will extend the same courtesies
to the Censor of said institute. Beside being my
friend, and a very worthy ecclesiastic, he is the
brother of a great friend of mine, who has a great
name in the republic of letters, and among the
sacred orators living. Do please be liberal of your

favors to him during the brief stay which he is
planning to make in this your City, which is
counted among the most cultured in Europe.
And now that I have sung the praises of my Rec-
16 Rosaspina by Bodoni dated Sept. 12,1813:

7l4
spina by Bodoni dated Sept. 12,1813:
And now that 1 have sung the praises of my Rec-
14,
18 Rosaspina by Bodoni dated Sept. 12,1813:
spina by Bodoni dated Sept. 12, 1813:

THE 8ODONI FAMILY
-1-I n.i. in Bologna, l>\ Bodoni dated Sept. 12, 1813:
You received with great courtesy the Rector of this
our Imperial Lyceum in Parma; I am happy to think
that you will extend the same courtesies to the Cen-
sor of said institute. Beside being my friend, and a
very worthy ecclesiastic, he is the brother of a great
friend of mine, who has a great name in the republic
of letters, and among the sacred orators living. Do
please be liberal of your favors to him during the
brief stay which he is planning to make in this your
City, which is counted among the most cultured in
Europe. And now that 1 have sung the praises of my
Recommended, I will mention his name. He is Mr
Abbe Guglielrno Leoni, very well known in Pied-
mont, and who holds a distinguished position among
the literary men of Bormida and Tanaro. He will
From a translation of a letter to Mr. Francis Rosaspina, in
Bologna, by Bodoni dated Sept. 12, 1813:
You received with great courtesy the Rector of this our
Imperial Lyceum in Parma; I am happy to think that you
will extend the same courtesies to the Censor of said in-
stitute. Beside being my friend, and a very worthy ecclesi-
astic, he is the brother of a great friend of mine, who has

a great name in the republic of letters, and among the
sacred orators living. Do please be liberal of your favors
to him during the brief stay which he is planning to make
in this your City, which is counted among the most cul-
tured in Europe. And now that I have sung the praises of
my Recommended, I will mention his name. He is Mr
Abbe Guglielmo Leoni, very well known in Piedmont,
and who holds a distinguished position among the liter-
ary men of Bormida and Tanaro. He will give you de-
tailed news of me, and of my joyful wife, and of our
friends; and will add that, as you have already received
the most part of my Collection, so you will have the re-
spina, in Bologna, by Bodoni dated Sept. 12, 1813:

our Imperial Lyceum in Parma; 1 am happy to think
that you will extend the same courtesies to the Cen-
sor of said institute. Beside being my friend, and a
very worthy ecclesiastic, he is the brother of a great
friend of mine, who has a great name in the republic
of letters, and among the sacred orators living. Do
please be liberal of your favors to him during the
brief stay which he is planning to make in this your
City, which is counted among the most cultured in
mont, and who holds a distinguished position among
the literary men of Bormida and Tanaro. He will
g From a translation of a letter to Mr. Francis Rosaspina, in
/13 Bologna, by Bodoni dated Sept. 12,1813:
will extend the same courtesies to the Censor of said in-
stitute. Beside being my friend, and a very worthy ecclesi-
astic, he is the brother of a great friend of mine, who has
a great name in the republic of letters, and among the
sacred orators living. Do please be liberal of your favors
to him during the brief stay which he is planning to make
in this your City, which is counted among the most cul-
tured in Europe. And now that I have sung the praises of
my Recommended, I will mention his name. He is Mr
friends; and will add that, as you have already received
the most part of my Collection, so you will have the re-
spina, in Bologna, by Bodoni dated Sept 12, 1813:
our Imperial Lyceum in Parma; I am happy to think

THE BODONI FAMILY
From a translation of a letter to Mr. Francis Rosaspina, in Bo-
logna, by Bodoni dated Sept. 12, 1813:
You received with great courtesy the Rector of this our Impe-
rial Lyceum in Parma; I am happy lo think that you will extend
the same courtesies to the Censor of said institute. Beside being
my friend, and a very worthy ecclesiastic, he is the brother of a
great friend of mine, who has a great name in the republic of
letters, and among the sacred orators living. Do please be lib-
eral of your favors to him during the brief stay which he is
planning to make in this your City, which is counted among the
most cultured in Europe. And now that I have sung the praises
of my Recommended, I will mention his name. He is Mr Abbe
Guglielmo Leoni, very well known in Piedmont, and who holds
a distinguished position among the literary men of Bormida
and Tanaro. He will give you detailed news of me, and of my
joyful wife, and of our friends; and will add that, as you have
already received the most part of my Collection, so you will
have the remainder. I shall be most happy to hear how you are
getting on, and will rejoice to learn that you are enjoying, along
with florid health, a perfect contentment of the soul. Do not be
surprised in finding that a friend's hand has written these lines
From a translation of a letter to Mr. Francis Rosaspina, in Bologna, by Bodoni
dated Sept. 12, 1813:
\ on received with great courtesy the Rector of this our Imperial Lyceum in
Parma; 1 am happy to think that you will extend the tame courtesies to the
Censor of said institute. Beside being my friend, and a very worthy ecclesiastic,
he is the brother of a great friend of mine, who has a great name in the republic
of letters, and among the sacred orators living. Do please be liberal of your
favors to him during the brief stay which he is planning lo make in this your
City, which is counted among the most cultured in Europe. And now that 1 hair
sung the praises of my Recommended, 1 will mention his name. He is Mr Abbe
Ctiglielmo Leoni, very well known in Piedmont, and who holds a distinguished
position among the literary men of Bormida and Tanaro. He will give you de-
tailed news of me, and of my joyful wife, and of our friends; and will add that,
as you have already received the most part of my Collection, to you will have
Ihe remainder. I shall be most happy lo hear how you are getting on. and will
rejoice to learn that you are enjoying, along with florid health, a perfect con-
tentment of Ihe soul. Do not be surprised in finding that a friend's hand h:>
written these lines of recommendation, as for some time past I have had recourse
to this help, for the reason that I am most busy; nor do 1 care to encroach upon
Ihe time which I need lo bring to an end those typographical enterprises which
1 conceived, and indeed are now well on their way. Keep your friendship for me.
The bearer of this my letter will confirm that 1, being very busy with my
Typographical Manual, have absolutely no time lo write at length, all the more
to on account of my uncertain health, which presents me to bend over my desk
for any long time in writing; I only employ myself thus for the strictly indis-
pensable.
You received with great courtesy the Rector of litis our Imperial Lyceum in
Parma: I am happy to think that you will extend the same courtesies to the
From a translation of a letter to Mr. Francis Rosaspina, in Bo-
logna, by Bodoni dated Sept. 12, 1813:
You received with great courtesy the Rector of this our Impe-
rial Lyceum in Parma; I am happy lo think that you will extend
letters, and among the sacred orators living. Do please he lib-
eral of your favors lo him during the brief stay which he is
planning to make in this your City, which is counted among the
most cultured in Europe. And now that I have sung the praises
of my Recommended, I will mention his name. He is Mr Abbe
Guglielmo Leoni, very well known in Piedmont, and who holds
a distinguished position among the literary men of Bormida
and Tanaro. He will give you detailed news of me, and of my
with florid health, a perfect contentment of the soul. Do not be
surprised in finding that a friend's hand has written these lines
From a translation of a letter to Mr. Francis Rosaspina, in Bologna, by Bodoni
You received with great courtesy Ihe Rector of this our Imperial Lyceum in
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42 POINT BODONI BOLD ITALIC, BAUER

THE BODONI FAMILY
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hijklmnopqrstuvwxyzfiffflftl23456 7890$.,"-:;!?""

THE BODONI FAMILY
From a translation of a letter to Mr. Fran-
% cis Rosaspina, in Bologna, by Bodoni
brother of a great friend of mine, who
has a great name in the republic of let-
ters, and among the sacred orators living.
12y
Rosaspina, in Bologna, by Bodoni dated
Sept. 12, 1813:
You received with great courtesy the Rec-
tor of this our Imperial Lyceum in Parma;
I am happy to think that you will extend the
same courtesies to the Censor of said insti-
tute. Beside being my friend, and a very
worthy ecclesiastic, he is the brother of a
great friend of mine, who has a great name
in the republic of letters, and among the

sacred orators living. Do please be liberal of
your favors to hint during the brief stay
which he is planning to make in this your
14/
/16
cis Rosaspina, in Bologna, by Bodoni

Sept. 12, 1813:
worthy ecclesiastic, he is the brother of a
great friend of mine, who has a great name
your favors to him during the brief stay
which he is planning to make in this your
cis Rosaspina, in Bologna, by Bodoni
12/
Sept. 12, 1813:

THE BODONI FAMILY
spina, in Bologna, by Bodoni dated Sept. 12,
1813:
to the Censor of said institute. Beside l>eing my
sacred orators living. Do please be liberal of your
counted among the most cultured in Europe. And
now that I have sung the praises of my recom-
mended, will mention his name. He is Mr. Abbe
Cuglielmo Leoni, very well known in Piedmont,
8/ Bologna, by Bodoni dated Sept. 12, 1813:
/s You received with great courtesy the Rector of this our
will extend the same courtesies to the Censor of said insli-
stute. Beside being my friend, and a very worthy ecclesias-
tic, he is the brother of a great friend of mine, who has a

great name in the republic of letters, and among the sacred
orators living. Do please be liberal of your favors to him
during the brief stay which he is planning to make in this
your City, which is counted among the most cultured in
Europe. And now that 1 have sung the praises of my Rec-
ommended, I will mention his name. He is Mr. Abbe Gugl-
ielnio Leoni, very well known in Piedmont, and who holds
a distinguished position among the literary men of Bor-
miila and Tanaro. He will give you detailed news of me,
and of my joyful wife, and of our friends; and will add
that, as you have already received the most part of my Col-
lection, so you will have the remainder. 1 shall be most
happy to hear how you are getting on, and will rejoice to
learn that you are enjoying, along with florid health, a

. From a translation of a letter to Mr. Francis Rosa-
2 spina, in Bologna, by Bodoni dated Sept. 12,
1813:
sacred orators living. Do please he liberal of your
mended, will mention his name. He is Mr. Abbe
Cuglielmo Leoni, very well known in Piedmont,
will extend the same courtesies to the Censor of said insti-
stulc. Beside being my friend, and a very worthy ecclesias-
tic, he is the brother of a great friend of mine, who has a
great name in the republic of letters, and among the sacred
orators living. Do please be liberal of your favors to him
during the brief stay which he is planning to make in this
your City, which is counted among the most cultured in
Europe. And now that 1 have sung the praises of my Rec-
ommended, I will mention his name. He is Mr. Abbe Gugl-
ielmo Leoni, very well known in Piedmont, and who holds
a distinguished position among the literary men of Bor-
happy to hear how you are getting on, and will rejoice to
learn that you are enjoying, along with florid health, a

S -t?
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THE BODONI FAMILY
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THE BODONI FAMILY
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24 POINT BODONI BOOK ITALIC, ATF
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18 POINT BODONI BOOK ITALIC, ATF ~~

Â».|J PALESTINAV-f*
Quousque tandem abu-
tere, Catilina, patientia
nostra? quamdiu etiam
furor iste tuus nos elu-
det? quern ad finem sese
effrenata jactabit auda-
da? nihilne te nocturnum
presidium Palatii, nihil
M. TULLIUS CICERO
ORATOR ATQUE PHILOS.
SORRENTO
Page from the Bodoni Manuale Tipografico. Parma, 1888.

THE BODONI FAMILY
Rosaspina, in Bologna, by Bodoni dated Sept.
12,1813:
tor of this our Imperial Lyceum in Parma; I
am happy to think that you will extend the
same courtesies to the Censor of said institute.
Beside being my friend, and a very worthy
ecclesiastic, he is the brother of a great friend
of mine, who has a great name in the republic
of letters, and among the sacred orators liv-
ing. Do please be liberal of your favors to him
12
spina, in Bologna, by Bodoni dated Sept. 12,1813:
name in the republic of letters, and among the sa-
cred orators living. Do please be liberal of your

now that I have sung the praises of my Recom-
12,1813:
Beside being my friend, and a very worthy

/T4 spina> in Bologna, by Bodoni dated Sept. 12,1813:
name in the republic of letters, and among the sa-
12,1813:
spina, in Bologna, by Bodoni dated Sept. 12,1813:
ABCDEFGHIJKLMNOPQRSTUVWXYZ
THE BODONI FAMILY
'10
From a translation of a letter to Mr. Francis Rosaspina,
in Bologna, by Bodoni dated Sept. 12, 1813:
Imperial Lyceum in Parma; I am happy to think that
you will extend the same courtesies to the Censor of said
institute. Beside being my friend, and a very worthy
ecclesiastic, he is the brother of a great friend of mine,
who has a great name in the republic of letters, and
among the sacred orators living. Do please be liberal of
your favors to him during the brief stay which he is
planning to make in this your City, which is counted
among the most cultured in Europe. And now that I have
sung die praises of my Recommended, I will mention his
name. He is Mr. Abbe Guglielmo Leoni, very well known
in Piedmont, and who holds a distinguished position
among ike literary men of Bormida and Tanaro. He will
give you detailed news of me, and of my joyful wife, and
tute. Beside being my friend, and a very worthy ecclesiastic,

he is the brother of a great friend of mine, who has a great
name in the republic of letters, and among the sacred orators
living. Do please be liberal of your favors to him during the
brief stay which he is planning to make in this your City,
which is counted among the most cultured in Europe. And
now that I have sung the praises of my Recommended, I
will mention his name. He is Mr. Abbe Cugliehno Leoni.
very well known in Piedmont, and who holds a distinguished
position among the literary men of Bormida and Tanaro.
He will give you detailed news of me, and of my joyful wife,
and of our friends; and will add that, as you have already
received the most part of my Collection, $o you will have
the remainder. I shall be most happy to hear how you are

Imperial Lyceum in Parma; I am happy to think that
you will extend the same courtesies to the Censor of said
institute. Beside being my friend, and a very worthy
ecclesiastic, he is the brother of a great friend of mine,
who has a great name in the republic of letters, and
among the sacred orators living. Do please be liberal of
your favors to him during the brief stay which he is
planning to make in this your City, which is counted
among the most cultured in Europe. And now that I have
among the literary men of Bormida and Tanaro. He will
give you detailed news of me, and of my joyful wife, and
tute. Beside being my friend, and a very worthy ecclesiastic,
he is the brother of a great friend of mine, who has a great
name in the republic of letters, and among the sacred orators
living. Do please be liberal of your favors to him during the
brief stay which he is planning to make in this your City,
which is counted among the most cultured in Europe. And
now that I have sung the praises of my Recommended, I
will mention his name. He is Mr. Abbe Guglielmo Leoni,
received the most part of my Collection, so you will hate
the remainder. I shall be most happy to hear how you are
'14

THE BODONI FAMILY
You received with great courtesy the Rector of this our Im-
perial Lyceum in Parma; I am happy to think that you will extend
ihe same courtesies to the Censor of said institute. Beside being
letters, and among the sacred orators living. Do please be liberal
of your favors to him during the brief stay which he is planning
to make in this your City, which is counted among the most cul-
tured in Europe. And now that I have sung the praises of my
Recommended, I will mention his name. He is Mr. Abbe Gugliel-
mo Leoni, very well known in Piedmont, and who holds a dis-
tinguished position among the literary men of Bormida andTanaro.
He will give you detailed news of me, and of my joyful wife, and
of our friends; and will add that, as you have already received
the most part of my Collection, so you will have the remainder.
I shall be most happy to hear how you are getting on, and will
rejoice to learn that you are enjoying, along with florid health.
a perfect contentment of the soul. Do not be surprised in finding
that a friend's hand has written these lines of recommendation,
From ft translation of a letter to Mr. Francis Rosaspina, in Bologna, by Bodoni
You received with great courtesy the Rector of this our Imperial Lyceum in
Parma; 1 am happy to think that you will extend the same courtesies to the
Censor nf said institute. Beside being my friend, and a very worthy ecclesiastic,
he is the brother of a great friend of mine, who baa a great name in the republic
of letter*, and among the sacred orator* living. Do pleane be liberal of your favor*
to him during the brief stay which he in planning to make in this your City, which
is counted among the most cultured inv Europe. And now that I have sung thr
praises of my Recommended, 1 will mention his name. He i* Mr. Abbe Gugliclmo
Leoni, very well known in Piedmont, and who hold* a distinguished position
among the literary men of Bormida and Tanaro. He will give you detailed news
of me, and of my joyful wife, and of our friends; and will add that, as you have
already received the most part of my Collection, so you will have the remainder. I
shall be most happy to hear how yon are getting on, and will rejoice to learn that
you are enjoying, along with florid health, a perfect contentment of the â€¢oul. Do
not be surprised in finding that a friend's hand has written these lines of recom-
mendation, as for some time pant I have had recourse to this help, for the reason
that 1 am most busy; nor do I care to encroach upon the time which I need to
bring to an end those typographical enterprises which 1 conceived, and indeed arc
now well on their way. Keep your friendship for me.
The bearer of this my letter will confirm that f, being very busy with my Typo-
graphical Manual, have absolutely no time to write at length, all the more so on
account of my uncertain health, which prevents me to bend over my desk for any
long time in writing; I only empty myself thu* for the strictly indispensable.
You received with great courtesy the Rector of this our Imperial Lyceum on
Parma; I am happy to think thai you will extend thr some cvurtesiei to the
Censor of said institute. Beside bring my friend, and a very worthy ecclesiastic.
You received with great courtesy the Rector of this our Im-
perial Lyceum in Parma; I am happy to think that you will extend
letters, and among the sacred orators living. Do please be liberal
of your favors to him during the brief stay which he is planning
to make in this your City, which is counted among the most cul-
tured in Europe. And now that I have sung the praises of my
Recommended, I will mention his name. He is Mr, Abbe Gugliel-
mo Leoni, very well known in Piedmont, and who holds a dis-
tinguished position among the literary men of Bormida and Tanaro.
He will give you detailed news of me, and of my joyful wife, and
a perfect contentment of the soul. Do not be surprised in finding
that a friend's hand has written these lines of recommendation,
From a translation of a letter to Mr. Francis Roaaapina, in Bologna, by Bodoni
You received with great courtesy the Rector of this our Imperial Lyceum in
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THE BODONI FAMILY
60 POINT BODONI EXTRA BOLD, BAUER

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THE BODONI FAMILY
60 POINT BODONI EXTRA BOLD ITALIC, BAUER

THE BODONI FAMILY
ABCDEFGHIJKLM
NOPQRSTUVWXY
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opqrstuvwxyzfffifl
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48 POINT BODONI EXTRA BOLD, BAUER
ABCDEFGHIJKL
MNOPQRSTUV
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THE BODONI FAMILY
i BCDEFGHIJKLMNOPQRSTUVWX YZ # abed
;fghijklmnopqrstuvwxyzfffifll234567890
I POINT BOOONI EXTRA BOLD, BAUER
\BCDEFGHIJKLMNOPQRSTUVWX YZ&abc
Iefghijklmnopqrstuvvwwxyzfffiflftl2345678

THE BODONI FAMILY
From a translation of a letter to Mr.
io/ Francis Bosaspina, in Bologna, by Bo-
/1Â° doni dated Sept. 12, 1813:
Bector of this our Imperial Lyceum in
ters, and among the sacred orators liv-
ing. Do please be liberal of your favors
to him during the brief stay which he is
planning to make in this your City,
which is counted among the most cul-
tured in Europe. And now that I have
From 11 translation of a letter to Mr. Francis
g Rosa.spina, in Bologna, by Bodoni dated Sept.
/8 12, 1813:
You received with great courtesy the Rector
of this our Imperial Lyceum in Parma: 1 am
happy to think that you will extend the same
courtesies to the Censor of said insitute. Beside

being my friend, and a very worthy eeclcsiav-
tic, he is the brother of a great friend of mine,
who has a great name in the republic of letters,
and among the sacred orators living. Do please
be liberal of your favors to him during the brief
stay which he is planning to make in this your
City, which is counted among the most cultured
in Europe. And now that I have song the praises
of my Recommended, I will mention his name.
He is Mr. Abbe Gnglielmo Leoni, very well
known in Piedmont, and who holds a distin-
guished position among the literary men ef
Bortnida and Tanaro. He will give you detailed
news of me, and of my joyful wife, and of our

From a translation of a letter to Mr.
Francis Bosaspina, in Bologna, by Bo-
doni dated Sept. 12, 1813:
Bector of this our Imperial Lyceum in
ters, and among the sacred orators liv-
irli it'll is counted among the most cul-
tured in Europe. And note that I have
12, 1813:
You received with great courtesy the Rector
of this our Imperial Lyceum in Parma; I am
happy to think that you will extend the same
courtesies to the Censor of said insitute. Beside
being my friend, and a very worthy ecclesias-
tic, he is the brother of a great friend of mini-
who has a great name in the republic of letters,
and among the sacred orators living. Do please
be liberal of your favors to him during the brief
stay which he is planning to make in this your
City, which is counted among the most cultured
in Europe. And now that I have sung the praises
Bormida and Tanaro. He will give you detailed
news of me, and of my joyful tcife, and of our

Plmes depromsii divitias, ventres.

Hie jlleesl Magnus, typica quo mil I us in arte
"graved portrait of Bodoni from the Manuale Tipografico. Parma, 1888.

BOOKMAN, LUDLOW
Superior In Quality
NEW BOOKMAN (HESS) 398, MONOTYPE
USEFUL fine
BOOKMAN OLDSTYLE 98, MONOTYPE
DURING earliest
A useful face with an
antique, oldstyle feel. Bookman
is both charming and useful

ijklmnopqrstu
vwxyzfiffflffi
RSTUVWX
ffl!234567890
JKLMNOPQ
ABCDEFGHI
n POINT BOOKMAN, ATF

THE BOOKMAN FAMILY
fjffflffiffil234
defghijklmn o
pqrs tuvwxyz
PQRSTUV
ABCDEFG
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HIJKLMNO
567890$.,'-:;!?
THE BOOKMAN FAMILY
72 POINT BOOKMAN ITALIC, ATF

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LMNOPQRSTU
vwxyzfiffflffiffl!2
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ABCDEFGHIJK
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60 POINT BOOKMAN, ATF

THE BOOKMAN FAMILY
ffflffiffll234567
abcdefghijklmn
opqrstuvwxyzfi.
TUVWXYZ&
KLMNOPQRS
ABCDEFGHIJ
890$.;-;:!?
THE BOOKMAN FAMILY

THE BOOKMAN FAMILY
ABCDEFGHIJKLM
NOPQRSTUVWX
YZ&abcdefghijklmno
pqrstuvwxyzfiffflffiffl
1234567890$.,'-:;!?cyl
48 POINT BOOKMAN, ATF
ABCDEFGHIJKL
MNOPQRS TUVW
XYZ&abcdefghijkl
mnopqrstuvwxyzfiff
fffiffll23 4567890$
â€¢> v â€¢

THE BOOKMAN FAMILY
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefgh
ijklmnopqrstu v wxyz 123456
7890$.,-':;!?
36 POINT BOOKMAN, LUDLOW
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefgh
ijklmn opqrs tu vwxyzl 2345
67890$./:;!?
36 POINT BOOKMAN ITALIC, LUDLOW
WXYZ&abcdefghijklmnopqrstuvwxy
zl234567890$.,-':;!?
X YZ&a bcdefghijklmn opqrs tu vwxyzl
234567890$.,-':;!?
nopqrstuvwxyzl234567890$.,-':;!?
nopqrstuvwxyzl234567890$.,-':;!?

THE BOOKMAN FAMILY
A. Dissertation Upon English Typo-
graphical Founders and Founderies.,
by Edward Rowe Mores, 1778. The
late MR CASLON, the Coryphaeus of
Letterfounders, was not trained to
this business, he was originally a
Gun-lock-graver, and was taken from
that instrument to an instrument of
very different tendency, the propaga-
tion of the Christian faith.
In the y. 1720 the London Soc. for
promoting Christian Knowledge in
A Dissertation Upon English Typographical
Founders and Founderies., by Edward Rowe
Mores, 1778. The late MR CASLON, the
Coryphaeus of Letterfounders, was not
trained to this business, he was originally a
Gun-lock-graver, and was taken from that
instrument to an instrument of very differ-
ent tendency, the propagation of the Chris-
tian faith.
In the y. 1720 the London Soc. for pro-
moting Christian Knowledge in consequence
of a representation made by Mr Salomon

Negri a native of Damascus in Syria, well
skilled in the oriental languages, who had
A Dissertation Upon English Typo-
that instrument to an instrument of
12

{4 Founders and Founderies., by Edward Rowe
tian faith.
A Dissertation Upon English Typo-
/'6 Founders and Founderies., by Edward Rowe
THE BOOKMAN FAMILY
Mores, 1778. The late MR CASLON, the Cory-
phaeus of Letterfounders, was not trained to
this business, he was originally a Gun-lock-
graver, and was taken from that instrument to
an instrument of very different tendency, the
propagation of the Christian faith.
In the y. 1720 the London Soc. for promot-
ing Christian Knowledge in consequence of a
representation made by Mr Salomon Negri a
native of Damascus in Syria, well skilled in the
oriental languages, who had been professor of
Arab, in places of note for a great part of his
life, deemed it expedient to print for the use of
Mores, 1778. The late MR CASLON, the Coryphaeus
of Letterfounders, was not trained to this business,
he was originally a Gun-lock-graver, and was taken
from that instrument to an instrument of very dif-
ferent tendency, the propagation of the Christian
faith.
In the y. 1720 the London Soc. for promoting

Christian Knowledge in consequence of a represen-
tation made by Mr Salomon Negri a native of
Damascus in Syria, well skilled in the oriental lan-
guages, who had been professor of Arab, in places
of note for a great part of his life, deemed it expe-
dient to print for the use of the Eastern churches
the N. Test, and Psalt. in the Arab, language for the
benefit of the poor Christians in Palestine, Syria,
% Founders and Founderies., by Edward Rowe

In the y. 1720 the London Soc. for promot-
ing Christian Knowledge in consequence of a
representation made by Mr Salomon Negri a
Arab, in places of note for a great part of his
life, deemed it expedient to print for the use of
10
12 Founders and Founderies., by Edward Rowe
Mores, 1778. The late MR CASLON, the Coryphaeus
of Letterfounders, was not trained to this business,
he was originally a Gun-lock-graver, and was taken
from that instrument to an instrument of very dif-
ferent tendency, the propagation of the Christian
faith.
In the y. 1720 the London Soc. for promoting
Christian Knowledge in consequence of a represen-
tation made by Mr Salomon Negri a native of
Damascus in Syria, well skilled in the oriental lan-
the N. Test, and Psalt. in the Arab, language for the
benefit of the poor Christians in Palestine, Syria,
ii/
/is Founders and Founderies., by Edward Rowe

THE BOOKMAN FAMILY
\ Dissertation Upon English Typographical Founders
md Founderies., by Edward Rowe Mores, 1778. The
late MR CASLON, the Coryphaeus of Letterfounders, was
not trained to this business, he was originally a Gun-lock-
graver, and was taken from that instrument to an instru-
ment of very different tendency, the propagation of the
Christian faith.
In the y. 1720 the London Soc. for promoting Chris-
tian Knowledge in consequence of a representation made
by Mr Salomon Negri a native of Damascus in Syria,
well skilled in the oriental languages, who had been pro-
fessor of Arab, in places of note for a great part of his
life, deemed it expedient to print for the use of the East-
ern churches the N. Test, and Psalt. in the Arab, language
for the benefit of the poor Christians in Palestine, Syria,
Mesopotamia, Arabia and Egypt; the constitution of
which countries allows of no printing: and Mr Caslon
was pitched upon to cut a fount.
A Dissertation Upon English Typographical Founders and
Founderies., by Edward Rowe Mores, 1778. The late MR
CASLON, the Coryphaeus of Letterfounders, was not trained
to this business, he was originally a (.inn-lock graver, and
was taken from that instrument to an instrument of very dif-
ferent tendency, the propagation of the Christian faith.

In the y. 1720 the London Soc. for promoting Christian
Knowledge in consequence of a representation made by Mr
Salomon Negri a native of Damascus in Syria, well skilled in
the oriental languages, who had been professor of Arab, in
places of note for a great part of his life, deemed it expedient
to print for the use of the Eastern churches the N. Test, and
Psalt. in the Arab, language for the benefit of the poor Chris-
tians in Palestine, Syria, Mesopotamia, Arabia and Egypt;
the constitution of which countries allows of no printing: and
Mr Caslon was pitched upon to cut a fount.
He cut the Eng. Arabic which we see in his specimens, this
was after the y. 1721 and before the y. 1726. in which latter
y. the Soc. had procured "two new founts of Arab, types, viz.
One from the Polyglott matrices; and Another of a lesser size

A Dissertation Upon English Typographical Founders
and Founderies., by Edward Rowe Mores, 1778. The
late MR CASLON, the Coryphaeus of Letterfounders, was
not trained to this business, he was originally a Gun-lock-
graver, and was taken from that instrument to an instru-
ment of very different tendency, the propagation of the
Christian faith.
In the y. 1720 the London Soc. for promoting Chris-
tian Knowledge in consequence of a representation made
by Mr Salomon Negri a native of Damascus in Syria,
well skilled in the oriental languages, who had been pro-
fessor of Arab, in places of note for a great part of his
life, deemed it expedient to print for the use of the East-
which countries allows of no printing: and Mr Caslon
was pitched upon to cut a fount.
A Dissertation Upon English Typographical Founders and
8/ Founderies., by Edward Rowe Mores, 1778. The late MR
HO CASLON, the Corypheeus of Letterfounders, was not trained
to this business, he was originally a Gun-lock-graver, and
was taken from that instrument to an instrument of very dif-
ferent tendency, the propagation of the Christian faith.
In the y. 1720 the London Soc. for promoting Christian
Knowledge in consequence of a representation made by Mr
Salomon Negri a native of Damascus in Syria, well skilled in
the oriental languages, who had been professor of Arab, in
places of note for a great part of his life, deemed it expedient
to print for the use of the Eastern churches the N. Test, and
Psalt. in the Arab, language for the benefit of the poor Chris-
tians in Palestine, Syria, Mesopotamia, Arabia and Egypt;
y. the Soc. had procured "two new founts of Arab, types, viz.
One from the Polyglott matrices; and Another of a lesser size

CASLON 540, ATF
ABCDE established
TRUE-CUT CASLON, LUDLOW
TYPE finer design
CASLON OLDSTYLE 337, MONOTYPE
YOUR NEXT urdes
AMERICAN CASLON 637, MONOTYPE
TYPE USERS advantage
ENGLISH CASLON OLDSTYLE 37, MONOTYPE
RECEIVES ervonth
Highly individual 72 pt
Caslon Q increased over 4 diameters

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THE CASLON FAMILY
72 POINT CASLON 540, ATF

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THE CASLON FAMILY
72 POINT CASLON 540 ITALIC, ATF

95U
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THE CASLON FAMILY

THE CASLON FAMILY
ABCDEFGHIJK
LMNOPQRSTU
VWXYZ&abcdefg
hijklmnopqrstuvwx
yzfiffflffiffl-
890$.;i-::!rii
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THE CASLON FAMILY
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Â« POINT CASLON 540, ATF

THE CASLON FAMILY
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OPQRSTUVlVXYZ&a
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THE CASLON FAMILY
ABCDEFGHIJKLMNOPQRST
UVWXYZ&abcdefghijklmnopqr
stuvwxyzfiffflffiffll234567890$
30 POINT CASLON 540. ATF
^4BCDEFGHIJKLMNOPQ
opqrstuvwxyzfiffflffiffl!23456 1890$
ABCDEFGHIJKLMNOPQRSTUVWXY
Z&abcdefghijklmnopqrstuvwxyzfiffflffiffl
1234567890$.,"-:;!?""
POINT CASLON MO, ATF
XYZ&abcdefghijklmnopqrstuvwxyzfiffflffiffl
1234567890$.,"-:;!?
jklmnopqrstuvwxyzfiffflffiffll23456789Q$.,?t-:;!?"tt
ABCDEFGHIJKLMNOPQRSTUrWXYZÂ®abcdefg
hijklmnopqrstuvwxyzfiffMffll234561890$.,"-:;!?

THE CASLON FAMILY
From a letter to John Baskerville by
% Benjamin Franklin dated 1760:
Let me give you a pleasant Instance
of the Prejudice some have entertained
against your Work. Soon after I re-
turned, discoursing with a Gentleman
concerning the Artists of Birming-
ham, he said you would [be] a Means
of blinding all the Readers in the Na-
tion; for the Strokes of your Letters,
being too thin and narrow, hurt the
Eye, and he could never read a Line of
From a letter to John Baskerville by Benja-
% min Franklin dated London, 1760:
Let me give you a pleasant Instance of the
Prejudice some have entertained against
your Work. Soon after I returned, discours-
ing with a Gentleman concerning the Artists
of Birmingham, he said you would- [be] a
Means of blinding all the Readers in the
Nation; for the Strokes of your Letters, be-
ing too thin and narrow, hurt the Eye, and
he could never read a Line of them without
Pain. "I thought," said 1, "you were going

to complain of the Gloss of the Paper, some
object to." "No, no" says he, "I have heard
16
Benjamin Franklin dated 1760:
ham, he said you would [be] a Means

% min Franklin dated London, 1760:
your Work. Soon after I returned, dis'cours-
of Birmingham, he said you would [be] a
Nation; for the Strokes of your Letters, be-
1o complain of the Gloss of the Paper, some
object to." "No, no," says he, "I hare heard
14x
min Franklin dated London, 1760:
your Work. Soon after I returned, discours-
of Birmingham, he said you would [be] a
to complain of the Gloss of the Paper, some
object to." "No, no," says he, "I have heard
THE CASLON FAMILY
rorn a letter to John Baskerville by Benjamin Franklin
fcted London, 1760:
Let me give you a pleasant Instance of the Prejudice
>me have entertained against your Work. Soon after 1
iturned, discoursing with a Gentleman concerning the
Artists of Birmingham, he said you would [be] a Means
f blinding all the Readers in the Nation; for the Strokes
f your Letters, being too thin and narrow, hurt the Eye,
nd he could never read a Line of them without Pain. "I
bought," said I, "you were going to complain of the
iloss of the Paper, some object to." "No, no," says he,
I have heard that mentioned, but it is not that; it Is in
lie Form and Cut of the Letters themselves; they have
lot that Height and Thickness of the Stroke, which make
he common Printing so much the more comfortable to
he Eye." You see this Gentleman was a Connoisseur. In
â€¢tiin I endeavoured to support your character against the
From a letter to John Baskerville by Benjamin Franklin dated
London, 1760:
Let me give you a pleasant Instance of the Prejudice some
have entertained against your Work. Soon after I returned,
discoursing with a Gentleman concerning the Artists of Bir-
mingham, he said you would [be] a Means of blinding all the
Readers in the Nation; for the Strokes of your Letters, being

too thin and narrow, hurt the Eye, and he could never read a
Line of them without Pain. "I thought," said I, "you were go-
ing to complain of the Gloss of the Paper, some object to." "No,
no," says he, "I have heard that mentioned, but it is not that;
it Is in the Form and Cut of the Letters themselves; they have
not that Height and Thickness of the Stroke, which make the
common Printing so much the more comfortable to the Eye."
You see this Gentleman was a Connoisseur. In vain I endeav-
oured to support your character against the Charge; he knew
what he felt, and could see the Reason of it, and several other
Gentlemen among his Friends had made the same Observa-
tion, &c.
Yesterday he called to visit me, when, mischievously bent
to try his Judgment, I slept into my Closet, tore off the Top of
-"rom a letter to John Baskerville by Benjamin Franklin
lated London, 1760:
Let me give you a pleasant Instance of the Prejudice
Â»me have entertained against your Work. Soon after I
returned, discoursing with a Gentleman concerning the
Artists of Birmingham, he said you would [be] a Means
of blinding all the Readers in the Nation; for the Strokes
of your Letters, being too thin and narrow, hurt the Eye,
and he could never read a Line of them without Pain. "I
thought," said I, "you were going to complain of the
Gloss of the Paper, some object to." "No, no," says he,
"I have heard that mentioned, but it is not that; it Is in
the Eye." You see this Gentleman was a Connoisseur. In
vain I endeavoured to support your character against the
From a letter to John Baskerville by Benjamin Franklin dated
8/ London, 1760:
ing to complain of the Gloss of the Paper, some object to." 'JNo,
Yesterday he called to visit me, ii-fien, mischievously bent
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THE CASLON FAMILY

60 POINT CASLON, NEW, ATF

THE CASLON FAMILY
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48 POINT CASLON, NEW ITALIC, ATF
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24 POINT CASLON, NEW ITALIC, ATF

THE CASLON FAMILY
14
HBenjamin Franklin dated 1760:
Let me give you a pleasant In-
stance of the Prejudice some have
entertained against your Work. Soon
after I returned, discoursing with a
Gentleman concerning the Artists of
Birmingham, he said you would [be]
a Means of blinding all the Readers
in the Nation; for the Strokes of
your Letters, being too thin and nar-
From a letter to John Baskerville by Ben-
1212 jam in Franklin dated London, 1760:
Let me give you a pleasant Instance of
the Prejudice some have entertained
against your Work. Soon after I returned,
discoursing with a Gentleman concerning
the Artists of Birmingham, he said you
would [bej a Means of blinding all the
Readers in the Nation; for the Strokes of
your Letters, being too thin and narrow,
hurt the Eye, and he could never read a
Line of them without Pain. "I thought,"

said I, "you were going to complain of the
Gloss of the Paper, some object to" "No,
4 From a letter to John Baskerville by
" Benjamin Franklin dated 1760:
Birmingham, he said you would [be]
a Means of blinding all the Readers
12 From a letter to John Baskerville by Ben-

14 jamin Franklin dated London, 1760:
would fbej a Means of blinding all the
your Letters, being too thin and narrow,
Gloss of the Paper, some object to" "No,
14 From a letter to John Baskerville by
/18
12 From a letter to John Baskerville by Ben-
jamin Franklin dated London, 1760:
would |be] a Means of blinding all the

THE CASLON FAMILY
Prom a letter to John Baskerville by Benjamin
FVanklin dated London, 1760:
Prejudice some have entertained against your
Work. Soon after I returned, discoursing with a
Gentleman concerning the Artists of Birming-
ham, he said you would [bej a Means of blinding
all the Readers in the Nation; for the Strokes of
your Letters, being too thin and narrow, hurt the
Eye, and he could never read a Line of them with-
out Pain. "I thought," said I, "you were going to
complain of the Gloss of the Paper, some object
to." "No, no," says he, "I have heard that men-
tioned, but it is not that; it Is in the Form and Gut
of the Letters themselves; they have not that
Meight and Thickness of the Stroke, which make
the common Printing so much the more comfort-
Prom a letter to John Baskerville by Benjamin Franklin dated
London, 1760:

ing to complain of the Gloss of the Paper, some object to-" "No,
oured to support your character against the Charge; he knew
what he felt, and could see the Reason of it, and several other
Gentlemen among his Friends had made the same Observa-
tion, &c.
From a letter to John Baskerville by Benjamin
Franklin dated London, 1760:
Prejudice some have entertained against your
Work. Soon after I returned, discoursing with a
Gentleman concerning the Artists of Birming-
ham, he said you would [bej a Means of blinding
all the Readers in the Nation; for the Strokes of
your Letters, being too thin and narrow, hurt the
Eye, and he could never read a Line of them with-
out Pain. "I thought," said I, "you were going to
complain of the Gloss of the Paper, some object
Height and Thickness of the Stroke, which make
the common Printing so much the more comfort-
From'a letter to John Baskerville by Benjamin Franklin dated
/10 London, 1760:
ing to complain of the Gloss of the Paper, some object to-" "No,
You see this Gentleman was a Connoisseur, In vain I endeav-
to try his Judgment, 1 slept into my Closet, tore off the Top of
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CENTURY EXPANDED, LUDLOW
COMPOSITOR mixed
Highly versatile, legible
and handsome, Century Expandes
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CENTURY EXPANDED, ATF
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From a letter by Benjamin Franklin
% to B. Vaughan dated Apr. 21, 1785:
If the Irish can manufacture cot-
tons, stuffs and silks, and linens, and
cutlery, and toys, and books etc. etc.
etc., so as to sell them cheaper in
England than the manufacturers of
England sell them, is not this good
for the people of England who are
not manufacturers? and will not
even the manufacturers themselves
share the benefit? Since if cottons
to B. Vaughan dated Apr. 21, 1785:
England sell them, is not this good
From a letter by Benjamin Franklin to B.
n/ Vaughan Esq. dated Apr. 21, 1785:
If the Irish can manufacture cottons,

stuffs and silks, and linens, and cutlery, and
toys, and books etc. etc. etc., so as to sell them
cheaper in England than the manufactur-
ers of England sell them, is not this good
for the people of England who are not
manufacturers? and will not even the man-
ufacturers themselves share the benefit?
Since if cottons are cheaper, all the other
manufacturers who wear cottons will save
in that article, and so of the rest. If books
can be had much cheaper from Ireland,
. From a letter by Benjamin Franklin to B.
Vaughan Esq. dated Apr. 21, 1785:

manuf acturers ? and will not even the man-
ill
to B. Vaughan dated Apr. 21, 1785:
Vaughan Esq. dated Apr. 21, 1785:
&.,"-: ;!?""1234567890$
THE CENTURY FAMILY
'r-om a letter by Benjamin Franklin to B.
âughan Esq. dated April 21, 1785:
If the Irish can manufacture cottons, stuffs
nd silks, and linens, and cutlery, and toys,
nd books etc. etc. etc., so as to sell them cheap-
r in England than the manufacturers of Eng-
and sell them, is not this good for the people
f England who are not manufacturers? and
vill not even the manufacturers themselves
hare the benefit? Since if cottons are cheaper,
ill the other manufacturers who wear cottons
vill save in that article, and so of the rest. If
xjoks can be had much cheaper from Ireland,
tvhich I believe for I bought Blackstone there
:OT 2b/- when it was sold in England at four
From a letter by Benjamin Franklin to B. Vaughan
,â€ž/ Esq. dated April 21, 1785:
/Â»> If the Irish can manufacture cottons, stuffs and
silks, and linens, and cutlery, and toys, and books
etc. etc. etc., so as to sell them cheaper in England
than the manufacturers of England sell them, is
not this good for the people of England who are
not manufacturers? and will not even the manu-
facturers themselves share the benefit? Since if

cottons are cheaper, all the other manufacturers
who wear cottons will save in that article, and so
of the rest. If books can be had much cheaper
from Ireland, (which I believe for I bought Black-
stone there for 24/- when it was sold in England
at four guineas) is not this an advantage not to
English booksellers indeed, but to English read-
ers and to learning. And of all the complainants
Vaughan Esq. dated April 21, 1785:
ind silks, and linens, and cutlery, and toys,
and books etc. etc. etc., so as to sell them cheap-
er in England than the manufacturers of Eng-

land sell them, is not this good for the people
of England who are not manufacturers? and
will not even the manufacturers themselves
share the benefit? Since if cottons are cheaper,
all the other manufacturers who wear cottons
(which I believe for I bought Blackstone there
for 24/- when it was sold in England at four
% Esq. dated April 21, 1785:
If the Irish can manufacture cottons, stuffs and
silks, and linens, and cutlery, and toys, and books
etc. etc. etc., so as to sell them cheaper in England
than the manufacturers of England sell them, is
not this good for the people of England who are
not manufacturers? and will not even the manu-
facturers themselves share the benefit? Since if
cottons are cheaper, all the other manufacturers
who wear cottons will save in that article, and so
of the rest. If books can be had much cheaper
English booksellers indeed, but to English read-
ers and to learning. And of all the complainants
Vaughan Esq. dated April 21, 1785:
and silks, and linens, and cutlery, and toys,
and books etc. etc. etc., so as to sell them cheap-
er in England than the manufacturers of Eng-
land sell them, is not this good for the people
of England who are not manufacturers? and
will not even the manufacturers themselves
(which / believe for I bought Blackstone there

Esq. dated April 21, 1785:
silks, and linens, and cutlery, and toys, and books etc.
etc. etc., so as to sell them cheaper in England than
the manufacturers of England sell them, is not this
good for the people of England who are not manufac-
turers? and will not even the manufacturers them-
selves share the benefit? Since if cottons are cheaper,
all the other manufacturers who- wear cottons will
save in that article, and so of the rest. If books can
be had much cheaper from Ireland, (which I believe
for I bought Blackstone there for 24/- when it was
sold in England at four guineas) is not this an advan-
tage not to English booksellers indeed, but to English
readers and to learning. And of all the complainants
perhaps these booksellers are least worthy of consid-
eration. The catalogue you last sent me amazes me by
the high prices (said to be the lowest) affixed to each
From a letter by Benjamin Franklin to B. Vaughan Es<{.
dated April 21, 1785:
If the Irish can manufacture cottons, stuffs and silk=,
and linens, and cutlery, and toys, and books etc. etc. etc..
so as to sell them cheaper in England than the manttfut-
tin as of England sell them, is not this good for the peopli
of England who are not manufacturers? and will not even
the manufacturers themselves share the benefit? Since if
cottons are cheaper, all the other manufacturers who
wear cottons will save in that article, and so of the rest.
If books can be had much cheaper from Ireland, (which I
believe for I bought Blackstone there for 24/- when it was
sold in England at four guineas) is not this an advantage
not to English booksellers indeed, but to English readers
and to learning. And of all the complainants perhaps
these booksellers are least worthy of consideration. The
catalogue you last sent me amazes me by the high prices
(said to be the lowest) affixed to each article. And one can
scarce see a new book, without observing the excessive
artifices may use use of to puff up a paper of verses intv

a pamphlet, a pamphlet into an octavo, and an octavo into
Esq. dated April 21, 1785:
silks, and linens, and cutlery, and toys, and books etc.
etc. etc., so as to sell them cheaper in England than
the manufacturers of England sell them, is not this
good for the people of England who are not manufac-
turers? and will not even the manufacturers them-
selves share the benefit? Since if cottons are cheaper,
all the other manufacturers who wear cottons will
save in that article, and so of the rest. If books can
be had much cheaper from Ireland, (which I believe
for I bought Blackstone there for 24/- when it was
eration. The catalogue you last sent me amazes me by
the high prices (said to be the lowest) affixed to each
From a letter by Benjamin Franklin to B. Vaughan Esq.
8, dated April 21, 1785:
10 If the Irish can manufacture cottons, stuffs and silks,
and linens, and cutlery, and toys, and books etc. etc. etc.,
so as to sell them cheaper in England than the manufac-
turers of England sell them, is not this.good for the people
of England who are not manufacturers? and will not even
the manufacturers themselves share the benefit? Since if
cottons are cheaper, all the other manufacturers who
wear cottons will save in that article, and so of the rest
If books can be had much cheaper from Ireland, (which 1
believe for I bought Blackstone there for 24/- when it was
sold in England at four guineas) is not this an advantage
not to English booksellers indeed, but to English readers
and to learning. And of all the complainants perhaps

THE CENTURY FAMILY
a letter by Benjamin Franklin to B. Vaughan Esq. dated
Ipril 21,1785:
If the Irish can manufacture cottons, stuffs and silks, and
inens, and cutlery, and toys, and books etc. etc. etc., so us to
ell them cheaper in England than the manufacturers of Eng-
and sell them, is not this good for the people of England who
ire not manufacturers? and will not even the manufacturers
hemselves share the benefit? Since if cottons are cheaper, all
he other manufacturers who wear cottons will save in that
irttcle, and so of the rest. If books can be had much cheaper
'rom Ireland, (which I believe for I bought Blackstone there
'or 24' - when it was sold in England at four guineas) is not this
in advantage not to English booksellers indeed, but to English
â€¢eaders and to learning. And of all the complainants perhaps
hese booksellers are least worthy of consideration. The cata-
ogue you last sent me amazes me by the high prices (said to be
:he lowest) affixed to each article. And one can scarce see a new
>ook, without observing the excessive artifices may use of to
â€¢ilT up a paper of verses into a pamphlet, a pamphlet into an
xrtavo, and an octavo into a quarto, with scab boardings, white
lines, sparse titles of chapters, and exorbitant margins, to such
a degree, that the selling of paper seems now the object and
urinting on it only the pretence. I inclose the copy of a page in
a late comedy. Between every two lines there is a white space

From a letter by Benjamin Franklin to B. Vaughan Esq. dated Apr.
21.1785:
If the Irish can manufacture cottons, stuffs and silks, and linens, and
cutlery, and toys, and books etc. etc. etc., so as to sell them cheaper in
England than the manufacturers of England sell them, is not this good
for the people of England who are not manufacturers? and will not
even the manufacturers themselves share the benefit? Since if cottons
are cheaper, all the other manufacturers who wear cottons will save in
that article, and so of the rest. If books can be had much cheaper from
Ireland, (which I believe for I bought Blackstone there for 24/- when
it was sold in England at four guineas) is not this an advantage not to
English booksellers indeed, but to English readers and to learning. And
of all the complainants perhaps these booksellers are least worthy of
consideration. The catalogue you last sent me amazes me by the high

prices (said to be the lowest) affixed to each article. And one can scarce
see a new book, without observing the excessive artifices may use of
to putT up a paper of verses into a pamphlet, a pamphlet into an
octavo, and an octavo into a quarto, with scab boardings, white lines,
sparse titles of chapters, and exorbitant margins, to such a degree, that
the selling of paper seems now the object and printing on it only the
pretence. I inclose the copy of a page in a late comedy. Between every
two lines there is a white space equal to another line. You have a law, 1
think, against butchers blowing of veal to make it look latter; why not
one against booksellers blowing of books to make them look bigger. All
this to yourself; you can easily guess the reason.
My grandson is a little indisposed, but sends you two pamphlets, Fig-
aro and Lc Roy Vtiyageux. The first is a play of Heaitmarchais. whir.lt.
has had a great run here. The other a representation of all the supposed
From a letter by Benjamin Franklin to B. Vaughan Esq. dated
April 21,1785:
If the Irish can manufacture cottons, stuffs and silks, and
linens, and cutlery, and toys, and books etc. etc. etc., so as to
sell them cheaper in England than the manufacturers of Eng-
land sell them, is not this good for the people of England who
are not manufacturers? and will not even the manufacturers
themselves share the benefit? Since if cottons are cheaper, all
the other manufacturers who wear cottons will save in that
article, and so of the rest. If books can be had much cheaper
from Ireland, (which I believe for I bought Blackstone there
for 24< - when it was sold in England at four guineas) is not this
an advantage not to English booksellers indeed, but to English
readers and to learning. And of all the complainants perhaps
these booksellers are least worthy of consideration. The cata-
logue you last sent me amazes me by the high prices (said to be
the lowest) affixed to each article. And one can scarce see a new
THE CENTURY FAMILY
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48 POINT CENTURY SCHOOLBOOK, ATF
ABCDEFGHIJKLM
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48 POINT CENTURY SCHOOLBOOK ITALIC, ATF

THE CENTURY FAMILY
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THE CENTURY FAMILY
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THE CENTURY FAMILY
FOURNIER ON TYPEFOUND-
[NG. Finding myself attached by
profession and inclination to the art
)f founding letters, I have applied
myself first of all to finding out their
seauties and defects, and to observ-
ing the alterations which might be
made in them. In the next place I
have attempted to combine the art
of cutting letters with that of found-
ing them, that I might be in a posi-
tion to put my observations into
FOURNIER ON TYPEFOUNDING.
% Finding myself attached by profession and
inclination to the art of founding letters, I
have applied myself first of all to finding
out their beauties and defects, and to ob-
serving the alterations which might be
made in them. In the next place I have
attempted to combine the art of cutting
letters with that of founding them, that I
might be in a position to put my observa-
tions into practice without needing the in-
tervention of an alien hand. With this in

view I gathered together specimens or ex-
amples of the most beautiful letters of va-
ING. Finding myself attached by
of founding letters, I have applied
beauties and defects, and to observ-
made in them. In the next place I
% Finding myself attached by profession and

letters with that of founding them, that I
ING. Finding myself attached by
of founding letters, I have applied
beauties and defects, and to observ-
12 /
/i* Finding myself attached by profession and
ic VrfCn i un i
FOURNIER ON TYPEFOUNDING. Find-
% ing myself attached by profession and inclina-
tion to the art of founding letters, I have
applied myself first of all to finding out their
beauties and defects, and to observing the al-
terations which might be made in them. In the
next place I have attempted to combine the
art of cutting letters with that of founding
them, that I might be in a position to put my
observations into practice without needing the
intervention of an alien hand. With this in view
I gathered together specimens or examples of
the most beautiful letters of various foundries
both in France and countries abroad, and I took
from each what seemed to me to be good with-
10.
FOURNIER ON TYPEFOUNDING. Finding
myself attached by profession and inclination to
the art of founding letters, I have applied myself
first of all to finding out their beauties and de-
fects, and to observing the alterations which
might be made in them. In the next place I have
attempted to combine the art of cutting letters
with that of founding them, that I might be in a

position to put my observations into practice
without needing the intervention of an alien hand.
With this in view I gathered together specimens
or examples of the most beautiful letters of vari-
ous foundries both in France and countries
abroad, and I took from each what seemed to me
to be good without becoming a slave to any. I be-
came especially devoted to the roman letter of
those letter-cutters of whom I have spoken, for-
% ing myself attached by profession and inclina-

them, that I might be in a position to put my
observations into practice without needing the
intervention of an alien hand. With this in view
both in France and countries abroad, and I took
from each what seemed to me to be good with-
10
FOURNIER ON TYPEFOUNDING. Finding
12 myself attached by profession and inclination to
the art of founding letters, I have applied myself
first of all to finding out their beauties and de-
fects, and to observing the alterations which
might be made in them. In the next place I have
attempted to combine the art of cutting letters
with that of founding them, that I might be in a
position to put my observations into practice
without needing the intervention of an alien hand.
With this in view I gathered together specimens
or examples of the most beautiful letters of vari-
came especially devoted to the roman letter of
those letter-cutters of whom I have spoken, for-
'w ing myself attached by profession and inclina-

THE CENTURY FAMILY
ÔURNIER ON TYPEFOUNDING. Finding my-
elf attached by profession and inclination to the art
f founding letters, I have applied myself first of all
o finding out their beauties and defects, and to ob-
erving the alterations which might be made in them.
n the next place I have attempted to combine the
irt of cutting letters with that of founding them, that
might be in a position to put my observations into
wactice without needing the intervention of an alien
land. With this in view I gathered together speci-
nens or examples of the most beautiful letters of var-
ous foundries both in France and countries abroad,
ind I took from each what seemed to me to be good
without becoming a slave to any. I became especially
levoted to the roman letter of thpse letter-cutters of
vhom I have spoken, foreigners having never done
my thing as good. Therefore, I have approximated to
hese as nearly as I could, taking care, at the same
FOURNIER ON TYPEFOUNDING. Finding myself
attached by profession and inclination to the art of
founding letters, I have applied myself first of all to find-
ing out their beauties and defects, and to observing the
alterations which might be made in them. In the next
place I have attempted to combine the art of cutting let-

ters with that of founding them, that I might be in a
position to put my observations into practice without
needing the intervention of an alien hand. With this in
view I gathered together specimens or examples of the
most beautiful letters of various foundries both in France
and countries abroad, and I took from each what seemed
to me to be good without becoming a slave to any. I be-
came especially devoted to the roman letter of those
letter-cutters of whom I have spoken, foreigners having
never done anything as good. Therefore I have approxi-
mated to these as nearly as I could, taking care, at the
same time, to make certain changes in them which seemed
to me necessary, such as making the capitals range at
the top with the lower-case ascenders. This change makes

FOURNIER ON TYPEFOUNDING. Finding my-
self attached by profession and inclination to the art
>f founding letters, I have applied myself first of all
to finding out their beauties and defects, and to ob-
serving the alterations which might be made in them.
In the next place I have attempted to combine the
art of cutting letters with that of founding them, that
I might be in a position to put my observations into
practice without needing the intervention of an alien
hand. With this in view I gathered together speci-
mens or examples of the most beautiful letters of var-
ious foundries both in France and countries abroad,
and I took from each what seemed to me to be good
anything as good. Therefore, I have approximated to
these as nearly as I could, taking care, at the same
FOURNIER ON TYPEFOUNDING. Finding myself
attached by profession and inclination to the art of
founding letters, I have applied myself first of all to find-
ing out their beauties and defects, and to observing the
alterations which might be made in them. In the next
place I have attempted to combine the art of cutting let-
ters with that of founding them, that I might be in a
position to put my observations into practice without
needing the intervention of an alien hand. With this in
view I gathered together specimens or examples of the
most beautiful letters of various foundries both in France
and countries abroad, and I took from each what seemed
to me to be good without becoming a slave to any. I be-
came especially devoted to the roman letter of those
to me necessary, such as making the capitals range at
the top with the lower-case ascenders. This change makes

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108
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14 POINT CENTURY SCHOOLBOOK BOLD, ATF
109
FUTURA MEDIUM, BAUER
Books Reading
TEMPO MEDIUM, LUDLOW
LANDMARK tourist
SPARTAN MEDIUM. ATF
BRAZIL countries
AIRPORT GOTHIC, MONOTYPE
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71 POINT FUTURA MEDIUM, BAUER

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112
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36 POINT FUTURA MEDIUM. BAUER
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36 POINT FUTURA MEDIUM ITALIC, BAUER

THE FUTURA FAMILY
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THE FUTURA FAMILY
he present popularity of the old style has en-
ouraged French type-founders to revive other
idriy printed forms, but they seem to regard the
mitation of early manuscript forms as a rever-
ion to barbarism and ugliness. But this imitation
ids been cleverly done by artists who have
indertaken to make designs for book titles and
3ook covers. Some have gone far beyond early
ypographic models, selecting the early Roman
etter â€” the plain capital without serif or hair
ine, with an almost absolute uniformity of thick
ine. Others have copied and exaggerated
he mannerisms of mediaeval copyists and en-
gravers, with all their faults, bundling words
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French type-founders to revive other early printed forms,
but they seem to regard the imitation of early manu-
script forms as a reversion to barbarism and ugliness.
But this imitation has been cleverly done by artists who
have undertaken to make designs for book titles and
book covers. Some have gone far beyond early typo-
graphic models, selecting the early Roman letterâ€”the
plain capital without serif or hair line, with an almost
absolute uniformity of thick line. Others have copied

and exaggerated the mannerisms of mediaeval copyists
and engravers, with all their faults, bundling words
together without proper relief between lines, dividing
them by periods and not by spaces, until they are almost
unreadable. The closely huddled and carelessly formed
letters of Botticelli and other early Italian engravers are
The present popularity of the old style has en-J
â€¢auraged French type-founders to revive cither
early printed forms, but they seem to regard the
imitation of early manuscript forms as a rever-
sion to barbarism and ugliness. But this imitation
has been cleverly done by artists -who have
undertaken to make designs for book titles and
book covers. Some have gone far beyond early

typographic models, selecting the early Roman
letterâ€”the plain capital without serif or hair
line, with an almost absolute uniformity of thick
line. Others have copied and exaggerated
The present popularity of the old style has encouraged
but they seem to regard the imitation of early manu-
script forms as a reversion to barbarism and ugliness.
But this imitation has been cleverly done by artists who
have undertaken to make designs for book titles and
book covers. Some have gone far beyond early typo-
graphic models, selecting the early Roman letterâ€”the
plain capital without serif or hair line, with an almost
absolute uniformity of thick line. Others have copied
and exaggerated the mannerisms of mediaeval copyists
and engravers, with all their faults, bundling words
together without proper relief between lines, dividing
them by periods and not by spaces, until they are almost
The present popularity of the old style has en-
couraged French type-founders to revive other
early printed forms, but they seem to regard the
imitation of early manuscript forms as a rever-
sion to barbarism and ugliness. But this imitation
has been cleverly done by artists who have
undertaken to make designs for book titles and
book covers. Some have gone far beyond early
typographic models, selecting the early Roman
letter â€” the plain capital without serif or hair
line, with an almost absolute uniformity of thick

THE FUTURA FAMILY
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
&abcdefghijklmnop
q rstuvwxyzfffiflftl 2
34567890$./-:;!?
60 POINT FUTURA LIGHT. BAUER
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36 POINT FUTURA LIGHT, BAUER
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36 POINT FUTURA LIGHT ITALIC, BAUER

THE FUTURA FAMILY
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24 POINT FUTURA LIGHT, BAUER
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24 POINT FUTURA LIGHT ITALIC, BAUER
ABCDEFGHIJKL
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60 POINT FUTURA DEMIBOLD, BAUER

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60 POINT FUTURA DEMIBOLD ITALIC, BAUER
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THE FUTURA FAMILY
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119
THE FUTURA FAMILY
The present popularity of the old style
has encouraged French type-founders to
revive other early printed forms, but
they seem to regard the imitation of
early manuscript forms as a reversion to
barbarism and ugliness. But this imita-
tion has been cleverly done by artists
who have undertaken to make designs
for book titles and book covers. Some
have gone far beyond early typographic
models, selecting the early Roman let-
terâ€”the plain capital without serif or
hair line, with an almost absolute uni-
formity of thick line. Others have copied
1Cy couraged French type-founders to revive other
/io early printed forms, but they seem to regard
the imitation of early manuscript forms as a
reversion to barbarism and ugliness. But this
imitation has been cleverly done by artists who
have undertaken to make designs for book
titles and book covers. Some have gone far
beyond early typographic models, selecting the
early Roman letterâ€”the plain capital without

serif or hair line, with an almost absolute uni-
formity of thick line. Others have copied and
exaggerated the mannerisms of mediaeval
copyists and engravers, with all their faults,
bundling words together without proper relief
between lines, dividing them by periods and not

terâ€”the plain capital without serif or
10/ couraged French type-founders to revive other
12 early printed forms, but they seem to regard
the imitation of early manuscript forms as a
reversion to barbarism and ugliness. But this
imitation has been cleverly done by artists who
have undertaken to make designs for book
titles and book covers. Some have gone far
beyond early typographic models, selecting the
early Roman letterâ€”the plain capital without
serif or hair line, with an almost absolute uni-
formity of thick line. Others have copied and
exaggerated the mannerisms of mediaeval
copyists and engravers, with all their faults,
12,

ghijklmnopqrs
1234567890
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THE FUTURA FAMILY
J POINT FUTURA BOLD, BAUER

THE FUTURA FAMILY
ABCDEFGHIJKL
MNOPQRSTUV
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fghijklmnopqrs
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60 POINT FUTURA BOLD ITALIC, BAUER
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36 POINT FUTURA BOLD. BAUER
122
THE FUTURA FAMILY
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The present popularity of the old style has
encouraged French type-founders to revive
/i2 other early printed forms, but they seem to
regard the imitation of early manuscript forms
as a reversion to barbarism and ugliness. But
this imitation has been cleverly done by art-
ists who have undertaken to make designs
for book titles and book covers. Some have
gone far beyond early typographic models,
selecting the early Roman letterâ€”the plain
capital without serif or hair line, with an
almost absolute uniformity of thick line. Others
have copied and exaggerafed fhe mannerisms
of mediaeval copyists and engravers, with all
12,
encouraged French type-founders to revive
other early printed forms, but they seem to

selecting the early Roman letter â€”the plain
almost absolute uniformity of thick line. Others
12 /
'ie encouraged French type-founders to revive
other early printed forms, but they seem to

selecting the early Roman letter â€”the plain
The present popularity of the old style has encour-
aged French type-founders to revive other early
o/ printed forms, but they seem to regard the imitation
10 of early manuscript forms as a reversion to barbar-
ism and ugliness. But this imitation has been cleverly
done by artists who have undertaken to make
designs for book titles and book covers. Some have
gone far beyond early typographic models, selecting
the early Roman letterâ€”the plain capital without
serif or hair line, with an almost absolute uniformity
of thick line. Others have copied and exaggerated
the mannerisms of mediaeval copyists and engrav-
ers, with all their faults, bundling words together
without proper relief between lines, dividing them
by periods and not by spaces, until they are almost
unreadable. The closely huddled and carelessly
formed letters of Botticelli and other early Italian
The present popularity of the old style has encour-
10/ aged French type-founders to revive other early
/ 'â€¢ printed forms, but they seem to regard the imitation
of early manuscript forms as a reversion to barbar-
ism and ugliness. But this imitation has been cleverly
done by artists who have undertaken to make
designs for book titles and book covers. Some have
gone far beyond early typographic models, selecting
the early Roman letterâ€”the plain capital without
serif or hair line, with an almost absolute uniformity
of thick line. Others have copied and exaggerated
the mannerisms of mediaeval copyists and engrav-

THE FUTURA FAMILY
wxyzfffiflftl 234567890$.,'-:;!?
36 POINT FUTURA BOOK, BAUER
ABCDEFGHUKLMNOPQRSTU
VWXYZ&abcdefghijklmnopqrst
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36 POINT FUTURA BOOK ITALIC, BAUER
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmn
opqrstuvwxyzfFflflftl234567890$.;-:;!?
24 POINT FUTURA BOOK, BAUER
ABCDEFGHUKLMNOPQRSTUVWXYZ&abcdefghijklm
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24 POINT FUTURA BOOK ITALIC, BAUER

The present popularity of the old style has encouraged French
type-founders to revive other early printed forms, but they
712 seem to regard the imitation of early manuscript forms as a
reversion to barbarism and ugliness. But this imitation has
been cleverly done by artists who have undertaken to make
designs for book titles and book covers. Some have gone far
beyond early typographic models, selecting the early Roman
letterâ€”the plain capital without serif or hair line, with an
almost absolute uniformity of thick line. Others have copied
and exaggerated the mannerisms of mediaeval copyists and
engravers, with all their faults, bundling words together
without proper relief between lines, dividing them by periods
and not by spaces, until they are almost unreadable. The
closely huddled and carelessly formed letters of Botticelli and
12/ type-founders to revive other early printed forms, but they
seem to regard the imitation of early manuscript forms as a

12.
16 type-founders to revive other early printed forms, but they
seem to regard the imitation of early manuscript forms as a
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" the imitation of early manuscript forms as a reversion to barbarism and
ugliness. But this imitation has been cleverly done by artists who have
undertaken to make designs for book titles and book covers. Some have
gone far beyond early typographic models, selecting the early Roman
letterâ€”the plain capital without serif or hair line, with an almost
absolute uniformity of thick line. Others have copied and exaggerated
the mannerisms of mediaeval copyists and engravers, with all their
faults, bundling words together without proper relief between lines,
dividing them by periods and not by spaces, until they are almost
unreadable. The closely huddled and carelessly formed letters of Botti-
celli and other early Italian engravers are even preferred by many
artists to the simple, severe, and easily read letters of chiseled inscrip-
tions on the stones of ancient Rome. There has been an eccentric
departure in another direction. Some designer has asked these ques-
tions: Why copy letter forms of any origin? Why should letters always
The present popularity of the old style has encouraged French type-
,,,/ founders to revive other early printed forms, but they seem to regard
'12 the imitation of early manuscript forms as a reversion to barbarism and
ugliness. But this imitation has been cleverly done by artists who have
undertaken to make designs for book titles and book covers. Some have
gone far beyond early typographic models, selecting the early Roman
letterâ€”the plain capital without serif or hair line, with an almost
absolute uniformity of thick line. Others have copied and exaggerated
the mannerisms of mediaeval copyists and engravers, with all their
faults, bundling words together without proper relief between lines,
dividing them by periods and not by spaces, until they ore almost
THE FUTURA FAMILY
tBCDEFGHIJKLMNOPQRSTUVWXYZ&abcde
ghijklmnopqrstuvwxyzfffiflftl234567890
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POINT FUTURA MEDIUM CONDENSED, BAUER
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POINT FUTURA BOLD CONDENSED, BAUER
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HIV
12,
'12
French type-founders to revive other early printed
forms, but they seem to regard the imitation of early
manuscript forms as a reversion to barbarism and
ugliness. But this imitation has been cleverly done by
artists who have undertaken to make designs for book
titles and book covers. Some have gone far beyond
early typographic models, selecting the early Roman
letterâ€”the plain capital without serif or hair line, with
an almost absolute uniformity of thick line. Others have
copied and exaggerated the mannerisms of mediaeval
copyists and engravers, with all their faults, bundling
words together without proper relief between lines,
dividing them by periods and not by spaces, until they
type-founders to revive other early printed forms, but they
o/ seem to regard the imitation of early manscript forms as a
10 reversion to barbarism and ugliness. But this imitation has

and not by spaces, until they are almost unreadable. The
other early Italian engravers are even preferred by many
artists to the simple, severe, and easily read letters of chis-
h1
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French type-founders to revive other early printed
artists who have undertaken to make designs for book
titles and book covers. Some have gone far beyond
early typographic models, selecting the early Roman
letterâ€”the plain capital without serif or hair line, with
an almost absolute uniformity of thick line. Others have
copied and exaggerated the mannerisms of mediaeval
copyists and engravers, with all their faults, bundling
o/ type-founders to revive other early printed forms, but they
12 seem to regard the imitation of early manscript forms as a
been cleverly done by artists who have undertaken to moke
other early Italian engravers are even preferred by many
/s French type-founders to revive other early printed

THE FUTURA FAMILY

36 POINT FUTURA INLINE, BAUER

GARAMOND, LUDLOW
ABCDEF the established
GARAMOND, MONOTYPE
ABCDEF abcdefghijk
GARAMOND, ATF
ABCDEF abcdefghijk
AH comparisons are made on 24 point type.
Oldstyle and delicate in concept,
Garamond has wide application in
both Roman and Italic form

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72 POINT GARAMOND ITALIC, MONOTYPE

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WXYZ&abcdefghi
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60 POINT GARAMOND, MONOTYPE
ABCDEFGHIJKL
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60 POINT GARAMOND ITALIC, MONOTYPE

THE GARAMOND FAMILY
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48 POINT GARAMOND, ATF
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48 POINT GARAMOND ITALIC, ATF
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'8 POINT GARAMOND ITALIC, ATF

135
77
Arrighi, page from "Il Modo de Temperare le Penne," 1523.

THE GARAMOND FAMILY
From a letter by Benjamin Franklin to
Noah Webster dated Dec. 26, 1789:
In examining the English Books, that
were printed between the Restoration and
the Accession of George the 2d, we may
observe, that all Substantives were begun
with a capital, in which we imitated our
Mother Tongue, the German. This was
more particularly useful to those, who
were not well acquainted with the English;
there being such a prodigious Number of
our Words, that are both Verbs and Sub-
From a letter by Benjamin Franklin to Noah
Webster dated Dec. 26, 1789:
In examining the English Books, that were
printed between the Restoration and the Acces-
sion of George the 2d, we may observe, that all
Substantives were begun with a capital, in which
we imitated our Mother Tongue, the German.
This was more particularly useful to those, who
our Words, that are both Verbs and Substantives,
and spelt in the same manner, tho' often ac-

cented differently in Pronunciation. This Meth-
od has, by the Fancy of Printers, of late Years
3 Noah Webster dated Dec. 26, 1789:
Mother Tongue, the German. This was

''Noah Webster dated Dec. 26, 1789:
ABCDEFGHIJKLMNOPQRSTUVWX
ABCDEFGHIJKLMNOPORSTUVWX
&.,"-:;!?""i234567890$
THE GARAMOND FAMILY
From a letter by Benjamin Franklin to Noah Web-
ster dated Dec. 26, 1789:
In examining the English Books, that were printed
between the Restoration and the Accession of
George the 2d, we may observe, that all Substantives
were begun with a capital, in which we imitated our
Mother Tongue, the German. This was more par-
ticularly useful to those, who were not well ac-
quainted with the English; there being such a pro-
digious Number of our Words, that are both Verbs
and Substantives, and spelt in the same manner, tho'
often accented differently in Pronunciation.
This Method has, by the Fancy of Printers, of late
Years been laid aside, from an Idea, that suppressing
the Capitals shows the Character to greater Advan-
x10
From a letter by Benjamin Franklin to Noah Webster
10/ dated Dec. 26, 1789:
In examining the English Books, that were printed be-
tween the Restoration and the Accession of George the 2d,
we may observe, that all Substantives were begun with a
capital, in which we imitated our Mother Tongue, the
German. This was more particularly useful to those, who
were not well acquainted with the English; .there being

such a prodigious Number of our Words, that are both
Verbs and Substantives, and spelt in the same manner, tho'
Years been laid aside, from an Idea, that suppressing the
Capitals shows the Character to greater Advantage; those
Letters prominent above the line disturbing its even regu-
lar Appearance. The Effect of this Change is so consider-
able, that a learned Man of France, who used to read our
% ster dated Dec. 26, 1789:

ticularly useful to those, who were not well ac-
quainted with the English; there being such a pro-
the Capitals shows the Character to greater Advan-
10,
/12 dated Dec. 26, 1789:
capital, in which we imitated our Mother Tongue, the
German. This was more particularly useful to those, who
were not well acquainted with the English; there being
such a prodigious Number of our Words, that are both
Verbs and Substantives, and spelt in the same manner, tho'
lar Appearance. The Effect of this Change is so consider-
able, that a learned Man of France, who used to read our
11/
/Â« ster dated Dec. 26, 1789:

THE GARAMOND FAMILY
From a letter by Benjamin Franklin to Noah Webster dated Dec. 26,
1799:
In examining the English Books, that were printed between the
Restoration and the Accession of George the 2d, we may observe, that
all Substantives were begun with a capital, in which we imitated our
Mother Tongue, the German. This was more particularly useful to
those, who were not welt acquainted with the English; there being
such a prodigious Number of our Words, that are both Verbs and
Subs/antives, and spelt in the same manner, tho' often accented differ-
ently in Pronunciation.
This method has, by the Fancy of Printers, of late Years been laid
aside, from an Idea, that suppressing the Capitals shows the Character
to greater Advantage; those Letters prominent above the line disturb-
ing its even regular Appearance. The Effect of this Change is so con-
siderable, that a learned Man of France, who used to read our Books,
tho* not perfectly acquainted with our Language, in Conversation
with me on the Subject of our Authors, attributed the greater Obscur-
ity he found in our modern Books, compared with those of the Period
above mentioned, to a Change of Style for the worse in our Writers,
of which Mistake I convinced him, by marking for him each Substan-
tive -with a Capital in a Paragraph, which he then easily understood,
From a letter by Benjamin Franklin to Noah Webster dated Dec. 26, 1789:
In examining the English Books, that were printed between the Restoration and
U " the Acceision of George the .Id, we may observe, that all SÂ»Â£t/JM/ifrt were begun
G with a capital, in which we imitated our Mother Tongue, the German. This wai
more particularly useful to those, who were not well acquainted with the English;
there being such a prodigious Number of our Words, that are both Vtrbt and .ViA
tttntivcs, and spelt in the same manner, tho' often accented differently in Pronun-
ciation.
This Method has, by the Fancy of Printers, of late Yean been laid aside, from
an Idea, that suppressing the Capitals shows the Character to greater Advantage;
those Letters prominent above the line disturbing its even regular Appearance. The
Effect of this Change is so considerable, that a learned Man of France, who used
to read our Books, tho' not perfectly acquainted with our Language, in Conversa-
tion with me on the Subject of our Authors, attributed the greater Obscurity he
found in our modern Books, compared with those of the Peciod above mentioned,
to a Change of Style for the worse in our Writers, of which Mistake I convinced
him, by marking for him each Subtttattve with a Capital in a Paragraph, which
he then easily understood, tho' before he could not comprehend it. This shows the
Inconvenience of that pretended Improvement.
From the same Fondness for an even and uniform Appearance of Characters in
the Line, the Printers have of late banished also the Italic Types, in which Words
of Importance to be attended to in the Sense of the Sentence, and Words on which
an Emphasis should be put in Reading, used to be printed. And lately another
Fancy has induced some Printers to use the short round i, instead of the long one,
which formerly served well to distinguish a word readily by its varied appearance.
Certainly the omitting this prominent Letter makes the Line appear more even; but
rrndert it Itit immeditttly legible; at the paring til Me n't Notet might tatooth tad
let-el their Ficet, i->"' would render their Pbytiognomiet le$t dittingxttbtble.
From a letter by Benjamin Franklin to Noah Webster dated Dec. 26,
1789:
Restoration and the Accession of George the 2dt we may observe, that
all Substantives were begun with a capital, in which we imitated our
Mother Tongue, the German. This was more particularly useful to
those, who were not well acquainted with the English; there being
such a prodigious Number of our Words, that are both Verbs and
Substantives, and spelt in the same manner, tho' often accented differ-
This method has, by the Fancy of Printers, of late Years been laid
aside, from an Idea, that suppressing the Capitals shows the Character
to greater Advantage; those Letters prominent above the line disturb-
ing its even regular Appearance. The Effect of this Change is so con-
siderable, that a learned Man of France, who used to read our Books,
of which Mistake I convinced him, by marking for him each Substan-
tive -with a Capital in a Paragraph, which be then easily understood,
6/ In examining the English Books, that were printed between the Restoration and
8 ihc Accession of George the 2d, we may observe, that all Sxbttintivci were begun
!â€¢* '
at
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghij klmnopqrstuv
wxyzfiffflffiffll 2345678
90$.,''-:;!?""
48 POINT GARAMOND LIGHT (GARAMONT, GOUDY 248) MONOTYPE
A BCDEFGHIJKLMNO
PQRSTUVW XYZ&abc
defghijklmnopqrstavwxy^fi
48 POINT GARAMOND LIGHT ITALIC (GARAMONT, GOUDY 2481) MONOTYPE
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghi
j klmnopqrstuvwxyzfiffflffi
ffll234567890$.,"-:;.f?""
140
THE GARAMOND FAMILY
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefgkij
4567890J./'-:;!?""
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&abcdefghijklmno
pqrstuvwxyzfiffflffiffll2345678
90$.,''-:;!?""
Â« POINT GARAMOND LIGHT (GARAMONT, GOUDY 248) MONOTYPE
UVWX.YZ&abcdefghijklmnopqrs
tuwuxy7jffflffifflm4567890$
yzfiffflffiffl!234567890$,''-:;!?""
Â» POINT GARAMOND LIGHT (GARAMONT, GOUDY 248) MONOTYPE

X YZ&abcdefghijklmnopqrstuvwxy^
fiffflffiffll234567890$/'-:;!<
abcdefghijklmnopqrstuvwxyz]EifFflffiffll2345678
90$,"-:;!?""
abcdefghijklmnopqrstuvwxy^fiffflffiffl!21>4567890$
< i.
opqrstuvwxy2fiffflffiffll234367890$.;'-:;!?""
142
THE GARAMOND FAMILY
rrom a letter by Benjamin Franklin to Noah
>rinted between the Restoration and the Ac-
:ession of George the 2d, we may observe, that
ill Substantives were begun with a capital, in
vhich we imitated our Mother Tongue, the
jerman. This was more particularly useful to
hose, who were not well acquainted with the
English; there being such a prodigious Num-
ber of our Words, that are both Verbs and Sub-
stantives, and spelt in the same manner, tho'
/â€¢a.
ster dated Dec. 26, 1789:
In examining the English Books, that were print-
ed between the Restoration and the Accession of
George the 2d, we may observe, that all Substan-
tives were begun with a capital, in which we imi-
tated our Mother Tongue, the German. This was
more particularly useful to those, who were not well
acquainted with the English; there being such a pro-

printed between the Restoration and the Ac-
cession of George the 2d, we may observe, that
all Substantives were begun with a capital, in
which we imitated our Mother Tongue, the
German. This was more particularly useful to
her of our Words, that are both Verbs and Sub-

^4 ster dated Dec. 26,1789:
acquainted with the English; there being such a pro-
printed between the Restoration and the Ac-
cession of George the 2d, we may observe, that
all Substantives were begun with a capital, in
which we imitated our Mother Tongue, the
her of our Words, that are both Verbs and Sub-
ster dated Dec. 26,1789:
dated Dec. 26, 1789:
between the Restoration and the Accession of George
the 2d, we may observe, that all Substantives were
begun with a capital, in which we imitated our Mother
Tongue, the German. This was more particularly use-
ful to those, who were not well acquainted with the
English; there being such a prodigious Number of
our Words, that are both Verbs and Substantives, and
spelt in the same manner, tho' often accented differ-
the Capitals shows the Character to greater Advantage;
our Words, that are both Verbs and Substantives, and

spelt in the same manner, tho' often accented differ-
the Capitals shows the Character to greater Advantage;
From a letter by Benjamin Franklin to Noah Webster dated
10/ Dec. 26, 1789:
10 In examining the English Books, that were printed be-
capital, in which we imitated our Mother Tongue, the Ger-
man. This was more particularly useful to those, who were
not well acquainted with the English; there being such a
prodigious Number of our Words, that are both Verbs and
Substantives, and spelt in the same manner, tho' often ac-
cented differently in Pronunciation.

This Method has, by the Fancy of Printers, of late \fears
'been laid aside, from an Idea, that suppressing the Capitals
shows the Character to greater Advantage; those Letters
prominent above the line disturbing its even regular Ap-
pearaiice. The Effect of this Change is so considerable, that
a learned Man of France, who used to read our Books, tbo'
From a letter by Benjamin Franklin to Noah Webster dated
T2 Dec. 26,1789:
capital, in which we imitated our Mother Tongue, the Ger-
man. This was more particularly useful to those, who were
not well acquainted with the English; there being such a
prodigious Number of our Words, that are both Verbs and
Substantives, and spelt in the same manner, tho' often ac-
cented differently in Pronunciation.
This Method has, by the Fancy of Printers, of late "Vfears
pearance. The Effect of this Change is so considerable, thai
a learned Man of France, who used to read our Books, tbo'
ii4i
\y From a letter by Benjamin Franklin to Noah Webster

THE GARAMOND FAMILY
TI a letter by Benjamin Franklin to Noah Webster dated Dec.
1789:
n examining the English Books, that were printed between the
coration and the Accession of George the 2d, we may observe,
all Substantives were begun with a capital, in which we imi-
d our Mother Tongue, the German. This was more particularly
ful to those, who were not well acquainted with the English;
:e being such a prodigious Number of our Words, that are both
bs and Substantives, and spelt in the same manner, tho' often
mted differently in Pronunciation.
"his Method has, by the Fancy of Printers, of late Tfears been
I aside, from an Idea, that suppressing the Capitals shows the
iracter to greater Advantage; those Letters prominent above the
'. disturbing its even regular Appearance. The Effect of this
inge is so considerable, that a learned Man of France, who used
read our Books, tho' not perfectly acquainted with our Lan-
ige, in Conversation with me on the Subject of our Authors,
â€¢ibuted the greater Obscurity he found in our modern Books,
spared with those of the Period above mentioned, to a Change
Style for the worse in our Writers, of which Mistake I con-
ced him, by marking for him each Substantive with a Capital in
In examining the English Books, that were printed between the Restora-
tion and the Accession of George the 2d, we may observe, that all Substan-
tives were begun with a capital, in which we imitated our Mother Tongue,
the German. This was more particularly useful to these, who were not well
acquainted with the English ; there being such a prodigious Number of our
Words, that are both Verbs and Substantives, and spelt in the same manner,
tho' often accented differently in Pronunciation.
This Method has, by the Fancy of Printers, of late Years been laid aside,
from an Idea, that suppressing the Capitals shows the Character to greater
Advantage; those Letters prominent above the line disturbing its even regu-
lar Appearance. The Effect of this Change is so considerable, that a learned
Man of France, who used to read our Books, tho' not perfectly acquainted
with our Language, in Conversation with me on the Subject of our Authors,
attributed the greater Obscurity he found in our modern Books, compared
with those of the Period above mentioned, to a Change of Style for the worse
in our Writers, of which Mistake I convinced him, by marking for him each
Substantive with a Capital in a Paragraph, which he then easily under-
stood, tho' before he could not comprehend it. This shows the Inconvenience
of that pretended Improvement.
From the same Fondness for an even and uniform Appearance of Charac-
ters in the Line, the Printers have of late banished also the Italic Types, in
which Words of Importance to be attended to in the Sense of the Sentence,
and Words on which an Emphasis should be put in Reading, used to be
printed. And lately another Fancy has induced some Printers to use the
short round s. instead of the long one, which formerly served well to distin-
guish a word readily by its varied appearance. Certainly the omitting this
prominent Letter makes the Line appear more even ; but renders it less imme-
>m a letter by Benjamin Franklin to Noah Webster dated Dec.
1789:
iteration and the Accession of George the J.I. we may observe,
it all Substantives were begun with a capital, in which we imi-
ed our Mother Tongue, the German. This was more particularly
:ful to those, who were not well acquainted with the English;
rre being such a prodigious Number of our Words, that are both
rbs and Substantives, and spelt in the same manner, tho' often
rented differently in Pronunciation.
This Method has, by the Fancy of Printers, of late \ears been
d aside, from an Idea, that suppressing the Capitals shows the
laracter to greater Advantage; those Letters prominent above the
ie disturbing its even regular Appearance. The Effect of this
tange is so considerable, that a learned Man of France, who used
Style for the worse in our Writers, of which Mistake I con-
teed him, by marking for him each Substantive with a Capital in
In examining the English Books, that were printed between the Restora-
tion and the Accession of George the 2d, we may observe, that all Substan-
THE GARAMOND FAMILY
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&abc
defghijklmnopqrstuvwxy
zfifll2 34567890$.,"-:;!?""
48 POINT GARAMOND BOLD, ATF
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdef
ghijklmnopqrstuvwxyzfifll2
34567890$.,"-:;.?""
48 POINT GARAMOND BOLD ITALIC, ATF
uvwxyzfifll234567890$./<-:;!?'
>mt
36 POINT GARAMOND BOLD, ATF

THE GARAMOND FAMILY
1BCDEFGHIJKLMNOPQRSTU
fWXYZ&abcdefghijklmnopqrstuv
vxyzfifl!234567890$.,"-:;!
POINT GARAMOND BOLD ITALIC, ATF
^BCDEFGHIJKLMNOPQRSTUVW
CYZ&abcdefghijklmnopqrstuvwxyzfifl
234567890$.,"-:;!?'
POINT GARAMOND BOLD, ATF
1BCDEFGH1JKLMNOPQRSTUVWX
YZ&abcdefghijklmnopqrstuvwxyzfifll2345
17890$.,"-:;!?""
POINT GARAMOND BOLD ITALIC, ATF
^BCDEFGHIJKLMNOPQRSTUVWXYZ&abc
Iefghijklmnopqrstuvwxyzfifll234567890$.,"-:;!?'"'
Â« POINT GARAMOND BOLD, ATF " "
4BCDEFGHIJKLMNOPQRSTUVW'XYZ&abcd
fghjjklmnopqrstuvwxyzfifll234567890$.,''-:;!
VBCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnop
|rstuvwxy2fifll234367890$.,>t-:;!?>>tt
'8 POINT GARAMOND BOLD, ATF
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmopqrst
wwxyzfifll234567890$., "â€¢â€¢:;!?

Few gothics equal the
strong simple beauty of good
any can match its usefulness.

cuts of News Gothic â€” hardly
THE NEWS GOTHIC FAMILY
NEWS GOTHIC, ATF
ABCDEFGH abcdefg
NEWS GOTHIC 20e. MONOTYPE
ABCD abed
RECORD GOTHIC, LUDLOW
MODERN entire plant
ABCDEFGHIJK
LMNQPQRSTU
VWXYZ&abcdef
h ijklmnopq rst
uvwxyz 123456
7890$./'-:;!?""
72 POINT NEWS GOTHIC, ATF

ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmn
opqrstuvwxyzl234
567890$./'-:;!?""
ABCDEFGHIJKLM NOP
QRSTUVWXYZ&abcdef
gh ij kl mnopq rstuvwxyz 1
234567890$.,"-:;!?""
150
ABCDEFGHIJKLMNOPQR
nopqrstuvwxyz 123456789
0$.,"-:;!?""
wxyz 1234567890$.,"-:;!?""
abcdefghijklmnopqrstuvwxyzl234567
890$./'-:;!?""
hiiklmnopqrstuvwxyzl234567890$.,"-:;!?""
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopq
rstuvwxyzl234567890$.,"-:;!?""

Besides the three principal proper-
ties which we have mentioned, the fol-
lowing (like Satellites to good letter)
are not undeserving the purchaser's
examination, who ought to take no-
tice, 1. Whether the letter stands even,
and in line; which is the chief good
quality in letter, and makes the face
thereof sometimes to pass, though
otherwise ill-shaped. 2. Whether it
stands parallel; and whether it drives
out or gets in, either at the head, or
Besides the three principal properties which
% we have mentioned, the following (like Sat-
ellites to good letter) are not undeserving
the purchaser's examination, who ought to
take notice, 1. Whether the letter stands
even, and in line; which is the chief good
quality in letter, and makes the face thereof
sometimes to pass, though otherwise ill-
shaped. 2. Whether it stands parallel; and
whether it drives out or gets in, either at the
head, or the foot, and is, as Printers call it,
bottle-arsed; which is a fault that cannot be
mended but by rubbing the whole fount over

again. 3. Whether the thin lower-case letter
, Besides the three principal proper-
16 ties which we have mentioned, the fol-
quality in letter, and makes the face
Besides the three principal properties which
we have mentioned, the following (like Sat-

shaped. 2. Whether it stands parallel; and
, Besides the three principal proper-
18 ties which we have mentioned, the fol-
,, Besides the three principal properties which
16 we have mentioned, the following (like Sat-
&.,"-:;!?""1234567890$
&.,"-:;!?""1234567890$
Besides the three principal properties which we
lave mentioned, the following (like Satellites to
;ood letter) are not undeserving the purchaser's
examination, who ought to take notice, 1. Wheth-
er the letter stands even, and in line; which is
the chief good quality in letter, and makes the
Face thereof sometimes to pass, though other-
vise ill-shaped. 2. Whether it stands parallel; and
head, or the foot, and is, as Printers call it, bot-
tle-arsed; which is a fault that cannot be mended
but by rubbing the whole fount over again. 3.
Whether the thin lower-case letters, especially
the dots over the i and j, are come in casting.
4. Whether the break is ploughed away and
10
Besides the three principal properties which we have
10 mentioned, the following (like Satellites to good let-
ter) are not undeserving the purchaser's examina-
tion, who ought to take notice, 1. Whether the letter
stands even, and in line; which is the chief good
quality in letter, and makes the face thereof some-
times to pass, though otherwise ill-shaped. 2.
Whether it stands parallel; and whether it drives out

or gets in, either at the head, or the foot, and is, as
Printers call it, bottle-arsed; which is a fault that
cannot be mended but by rubbing the whole fount
over again. 3. Whether the thin lower-case letters,
especially the dots over the i and j, are come in cast-
ing. 4. Whether the break is ploughed away and
smoothened. 5. Whether it be well scraped, so as
not to want rubbing down by the compositor. 6.
Whether each letter has a due proportion, as to
have mentioned, the following (like Satellites to
good letter) are not undeserving the purchaser's

face thereof sometimes to pass, though other-
wise ill-shaped. 2. Whether it stands parallel; and
head, or the foot, and is, as Printers call it, bot-
tle-arsed; which is a fault that cannot be mended
but by rubbing the whole fount over again. 3.
Whether the thin lower-case letters, especially
mentioned, the following (like Satellites to good let-
ter) are not undeserving the purchaser's examina-
tion, who ought to take notice, 1. Whether the letter
stands even, and in line; which is the chief good
quality in letter, and makes the face thereof some-
times to pass, though otherwise ill-shaped. 2.
Whether it stands parallel; and whether it drives out
or gets in, either at the head, or the foot, and is, as
Printers call it, bottle-arsed; which is a fault that
cannot be mended but by rubbing the whole fount
over again. 3. Whether the thin lower-case letters,
not to want rubbing down by the compositor. 6.
Whether each letter has a due proportion, as to
have mentioned, the following (like Satellites to
good letter) are not undeserving the purchaser's
face thereof sometimes to pass, though other-

9/ mentioned, the following (like Satellites to good letter)
9 are not undeserving the purchaser's examination, who
ought to take notice, 1. Whether the letter stands even,
and in line; which is the chief good quality in letter, and
makes the face thereof sometimes to pass, though other-
whether it drives out or gets in, either at the head, or
the foot, and is, as Printers call it, bottle-arsed; which is
a fault that cannot be mended but by rubbing the whole
fount over again. 3. Whether the thin lower-case letters,
especially the dots over the i and j, are come in casting.
4. Whether the break is ploughed away and smoothened.
5. Whether it be well scraped, so as not to want rubbing
down by the compositor. 6. Whether each letter has a
due proportion, as to thickness; and whether they are
not so thin as to hinder each other from appearing with
a full face; or so thick as to occasion a gap between
letter and letter. 7. Whether it be well bearded: which
Besides the three principal properties which we have men-
tioned, the following (like Satellites to good letter) are not
undeserving the purchaser's examination, who ought to take
notice, 1. Whether the letter stands even, and in line; which
is the chief good quality in letter, and makes the face there-
of sometimes to pass, though otherwise ill-shaped. 2. Wheth-

er it stands parallel; and whether it drives out or gets in,
either at the head, or the foot, and is, as Printers call it
bottle-arsed; which is a fault that cannot be mended but by
rubbing the whole fount over again. 3. Whether the thin
lower-case letters, especially the dots over the i and j, are
come in casting. 4. Whether the break is ploughed away
and smoothened. 5. Whether it be well scraped, so as not to
want rubbing down by the compositor. 6. Whether each let-
ter has a due proportion, as to thickness; and whether they
are not so thin as to hinder each other from appearing with
a full face; or so thick as to occasion a gap between letter
and letter. 7. Whether it be well bearded: which founders in
France are obliged to do, to their own disadvantage, on ac-
count of their shadow letter. 8. Whether it have a deep and

open, single or double nick, different from other founts of
mentioned, the following (like Satellites to good letter)
are not undeserving the purchaser's examination, who
ought to take notice, 1. Whether the letter stands even,
and in line; which is the chief good quality in letter, and
makes the face thereof sometimes to pass, though other-
whether it drives out or gets in, either at the head, or
the foot, and is, as Printers call it, bottle-arsed; which is
a fault that cannot be mended but by rubbing the whole
fount over again. 3. Whether the thin lower-case letters,
especially the dots over the i and j, are come in casting.
4. Whether the break is ploughed away and smoothened.
5. Whether it be well scraped, so as not to want rubbing
down by the compositor. 6. Whether each letter has a
due proportion, as to thickness; and whether they are
Besides the three principal properties which we have men-
8 tioned, the following (like Satellites to good letter) are not
:" undeserving the purchaser's examination, who ought to take
notice, 1. Whether the letter stands even, and in line; which
is the chief good quality in letter, and makes the face there-
of sometimes to pass, though otherwise ill-shaped. 2. Wheth-
er it stands parallel; and whether it drives out or gets in.
either at the head, or the foot, and is, as Printers call it,
bottle-arsed; which is a fault that cannot be mended but by
rubbing the whole fount over again. 3. Whether the thin
lower-case letters, especially the dots over the i and j, are
come in casting. 4. Whether the break is ploughed away
and smoothened. 5. Whether it be well scraped, so as not to
want rubbing down by the compositor. 6. Whether each let-

Besides the three principal properties which we have mentioned, the
following (like Satellites to good letter) are not undeserving the
Â° purchaser's examination, who ought to take notice, 1. Whether the
Â° letter stands even, and in line; which is the chief good quality in let-
ter, and makes the face thereof sometimes to pass, though other-
wise ill-shaped. 2. Whether it stands parallel? and whether it drives
out or gets in, either at the head, or the foot, and is, as Printers call
it, bottle-arsed; which is a fault that cannot be mended but by rub
bing the whole fount over again. 3. Whether the thin lower-case let-
ters, especially the dots over the i and j, are come in casting. 4.
Whether the break is ploughed away and smoothened. 5. Whether
it be well scraped, so as not to want rubbing down by the compos-
itor. 6. Whether each letter has a due proportion, as to thickness;
and whether they are not so thin as to hinder each other from ap-
pearing with a full face; or so thick as to occasion a gap between
letter and letter. 7. Whether it be well bearded: which founders in
France are obliged to do, to their own disadvantage, on account of
their shallow letter. 8. Whether it have a deep and open, single or
double nick, different from other founts of the same body, and in
the same printing-house.
We cannot too strongly urge the advantage to be derived from
letter having a deep nick, and also that the nick should differ from
other founts of that body in the same house. This may appear a
trifling consideration; but in a large fount the difference in weight

will be considerable, and consequently a saving to the purchaser. A
deep nick is an advantage to the compositor, from its more readily
catching the eye than a shallow one, and consequently greatly facil-
itates him in his business.
following (like Satellites to good letter) are not undeserving the
6/ purchaser's examination, who ought to take notice. 1. Whether the
letter stands even, and in line; which is the chief good quality in let-
wise ill-shaped. 2. Whether it stands parallel; and whether it drives
out or gets in, either at the head, or the foot, and is, as Printers call
it, bottle-arsed; which is a fault that cannot be mended but by rub-
letter and letter. 7. Whether it be well bearded: which founders in
France are obliged to do, to their own disadvantage, on account of
their shallow letter. 8. Whether it have a deep and open, single or
double nick, different from other founts of the same body, and in
catching the eye than a shallow one, and consequently greatly facil-
'10
following (like Satellites to gopd letter) are not undeserving the
purchaser's examination, who ought to take notice, 1. Whether the
letter stands even, and in line; which is the chief good quality in let-
wise ill-shaped. 2. Whether it stands parallel; and whether it drives
out or gets in. either at the head, or the foot, and is, as Printers call
it, bottle-arsed; which is a fault that cannot be mended but by rub-
catching the eye than a shallow one. and consequently greatly facil-
ABCDEFGHIJKLMNOPQRSTUVWXVZ
STANDARD. AMSTERDAM CONTINENTAL
BICYCLE name
VENUS MEDIUM, BAUER
ANTHOLOGY scheme
UNIVERS 55, ATF
ABCDEF abcdefgh
RECORD GOTHIC, LUDLOW
METHODS production
A review ol the great diversit,
of choices and the subtle variety :
form in the Standard series
explains the great acceptance of th!
popular European sans serif face

efghijklmnopq
rstuvwxyz123
LMNOPQRSTU
VWXYZ&abcd
ABCDEFGHIJK
THE STANDARD FAMILY
POINT STANDARD MEDIUM, AMSTERDAM CONTINENTAL

THE STANDARD FAMILY
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmn
opq rstu vwxyz123
4567890$.,"-:;!?
60 POINT STANDARD MEDIUM, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefgh
ijklmnopqrstuvwxyz1234
567890$.,"-:;!?
â€¢12 POINT STANDARD MEDIUM, AMSTERDAM CONTINENTAL
WXYZ&abcdefghijklmnopqrstu
vwxyz1234567890$.,"-:;!?
30 POINT STANDARD MEDIUM, AMSTERDAM CONTINENTAL

THE STANDARD FAMILY
iBCDEFGHIJKLMNOPQRSTUVWXY
:&abcdefghijklmnopqrstuvwxyz1234
>67890$.."-:;!?
POINT (large) STANDARD MEDIUM, AMSTERDAM CONTINENTAL
iBCDEFGHIJKLMNOPQRSTUVWXYZ&abcde
3hijklmnopqrstuvwxyz1234567890$.,"-:;!?
POINT (small) STANDARD MEDIUM, AMSTERDAM CONTINENTAL
LBCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmno
>qrstuvwxyz1234567890$.,"-:;!?""
POINT STANDARD MEDIUM, AMSTERDAM CONTINENTAL
tBCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234
>67890$.,"-:;!?""
\ POINT STANDARD MEDIUM, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&ab
cdefghijklmnopqrstuv
wxyz123456789O$.,"-:
12 POINT STANDARD MEDIUM ITALIC, AMSTERDAM CONTINENTAL
Z&abcdefghijklmnopqrstuvwxyz123456
7890$.,"-:;!?
24 POINT (small) STANDARD MEDIUM ITALIC, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdetghiiklmnopqrstuvwxyz1234567890$
12 POINT STANDARD MEDIUM ITALIC, AMSTERDAM CONTINENTAL

THE STANDARD FAMILY
10/
- 10
OBSERVATONS ON COMPOSING. Although
this essential point has been passed over with
little notice by most writers upon this subject, still
(so great are the evils resulting from ill-contracted
habits, which naturally keep pace with our
growth), we cannot avoid pointing out a few in-
stances of the sure consequences attendant on
them. There are many persons now employed in
the art, who frequently, with great justice, inveigh
in strong terms against the conduct of those unto
whose care they were first entrusted, for suffer-
ing them to contract those ill-becoming postures
which are productive of knock knees, round shoul-
ders, and other deformities. It is deeply to be re-
gretted, that those who undertake so important a
OBSERVATIONS ON COMPOSING. Although this
essential point has been passed over with little notice
by most writers upon this subject, still (so great are
the evils resulting from ill-contracted habits, which
naturally keep pace with our growth), we cannot avoid
pointing out a few instances of the sure consequences
attendant on them. There are many persons now em-

ployed in the art, who frequently, with great justice, in-
veigh in strong terms against the conduct of those
unto whose care they were first entrusted, for suffer-
ing them to contract those ill-becoming postures which
are productive of knock knees, round shoulders, and
other deformities. It is deeply to be regretted, that
those who undertake so important a charge, are not
better qualified to fulfil that duty: instead of suffering
the tender shoot to grow wild and uncultivated, when
the pruning-knife, in a gentle hand, with a little admo-
'12

growth), we cannot avoid pointing out a few in-
stances of the sure consequences attendant on
them. There are many persons now employed in
the art, who frequently, with great justice, inveigh
in strong terms against the conduct of those unto
whose care they were first entrusted, for suffer-
ing them to contract those ill-becoming postures
which are productive of knock knees, round shoul-
OBSERVATIONS ON COMPOSING. Although this
essential point has been passed over with little notice
by most writers upon this subject, still (so great are
the evils resulting from ill-contracted habits, which
naturally keep pace with our growth), we cannot avoid
pointing out a few instances of the sure consequences
attendant on them. There are many persons now em-
ployed in the art, who frequently, with great justice, in-
veigh in strong terms against the conduct of those
unto whose care they were first entrusted, for suffer-
ing them to contract those ill-becoming postures which
are productive of knock knees, round shoulders, and
other deformities. It is deeply to be regretted, that
those who undertake so important a charge, are not
10,-
'14

THE STANDARD FAMILY
OBSERVATIONS ON COMPOSING. Although this essential point has
been passed over with little notice by most writers upon this subject, still
(so great are the evils resulting from ill-contracted habits, which natu-
rally keep pace with our growth), we cannot avoid pointing out a few
instances of the sure consequences attendant on them. There are many
persons now employed' in the art, who frequently, with great justice, in-
veigh in strong terms against the conduct of those unto whose care they
were first entrusted, for suffering them to contract those ill-becoming
postures which are productive of knock knees, round shoulders, and
other deformities. It is deeply to be regretted, that those who undertake
so important a charge, are not better qualified to fulfil that duty: instead
of suffering the tender shoot to grow wild and uncultivated, when the
pruning-knife, in a gentle hand, with a little admonition, would have
checked its improper growth, and trained it in a right course.
What to a learner may appear fatiguing, time and habit will render easy
and familiar; and though to work with his cases on a level with his breast,
may at first tire his arms, yet use will so inure him to it, that it will be-
come afterwards equally unpleasant to work at a low frame. His perse-
verance in this mode must be strengthened by the reflection, that it will
most effectually prevent his becoming round shouldered, a distinguishing
mark by which compositors are in general known, especially if they are
above the common stature. This method will likewise keep the body in
an erect position, and prevent those effects which result from pressure
on the stomach.
(so great are the evils resulting from .ill-contracted habits, which natu-
rally keep pace with our growth), we cannot avoid pointing out a few
persons now employed in the art, who frequently, with great justice, in-

may at first tire his arms, yet use will so inure him to it, that it will be-
come afterwards equally unpleasant to work at a low frame. His perse-
verance in this mode must be strengthened by the reflection, that it will
10 (so great are the evils resulting from ill-contracted habits, which natu-
rally keep pace with our growth), we cannot avoid pointing out â€¢ few
persons now employed in the art, who frequently, with great justice, in-
*.,"-:;I?""1234567890$
abcdefghijklmnopqrstuvwxyi
21
22
23
24
25 26
27
28 29
THE STANDARD FAMILY
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefgh
ijklmnopqrstuvw
xyz123456789
0$."-:;!?""
60 POINT STANDARD BOLD, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOP
QRSTU VWXYZ&a bcdef
ghijklmnopqrstuvwxyzl
234567890$.,"-:;!?""
42 POINT STANDARD BOLD, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&a
bcdefghijklmnopqrstuvwxyz123456789
0$.,"-:;!?""
24 POINT (small) STANDARD BOLD, AMSTERDAM CONTINENTAL

THE STANDARD FAMILY
nopqrstuvwxyz1234567890$,"-:;!?""
M POINT STANDARD LIGHT, AMSTERDAM CONTINENTAL
wxyzl 234567890$,"-:;!?""
13 POINT STANDARD LIGHT, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$
ii ..IO""
â€¢I "â€¢!â€¢ â€¢ _____^
MToiN^S^NTJATiDTrGHT, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,"-:;!?""
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,"-:;l?'"
ABCDEFGHIJKLMNOPORSTUVWXYZ&.abcdefghijklmnopqrstuvwxyz1234567890$.|"-;;!?""
ABCDEFGHIJKLMNOPORSTUVWXYZ&abcdefBhijklmnopqrstuvwxyz1534567890$.,".:;!?"
wxyzl 234567890$.,"-:;!?""
24 POINT (large) STANDARD LIGHT CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz&123
4567890$.,"-:;!?""
M POINT (small) STANDARD LIGHT CONDENSED, AMSTERDAM CONTINENTAL

ABCDEFGHIJKLMNQPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz123456789Q$.,"-:;!?""
18 POINT STANDARD LIGHT CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.."-::!?""
H POINT STANDARD LIGHT CONDENSED, AMSTERDAM CONTINENTAL
J*
THE STANDARD FAMILY
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.."-:;!?"
ABCDEFGHIJKLMNOPQRSTUVWXYZSabcdefghiiklmnopqrstuvwxyz1234567890$./'-.:!?''"
*BCDEFGHIJKLMW0PQBSTUVWXYZ&abedBtghijklmnotmr3tUTWXYi1234567B90t-"-::1?""
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ABCDEFGHIJKLMNOPQRS
TUVWXYZ&abcdefghijklm
nopqrstuvwxyz123456789
0$ "-â€¢â€¢!'?""
w v^ â– â– i â– â– â–
60 POINT STANDARD CONDENSED, AMSTERDAM CONTINENTAL
defghijklmnopqrstuvwxyz1234567890$
"-â– â– l?
â– J â– !â– â–
net
42 POINT STANDARD CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz12
34567890$.,"-:;!?""
24 POINT (small) STANDARD CONDENSED, AMSTERDAM CONTINENTAL
178
THE STANDARD FAMILY
YZ&abcdefghijklmnopqrstuvwxyzl
234567890$."-::!?""
60 POINT STANDARD MEDIUM CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcd
efghijklmnopqrstuvwxyz1234567890$.,'c-:
*2 POINT STANDARD MEDIUM CONDENSED, AMSTERDAM CONTINENTAL
ABGDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567
890$.,"-:;!?""
24 POINT STANDARD MEDIUM CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRS
0$.,"-:;!?""
* POINT STANDARD BOLD CONDENSED, AMSTERDAM CONTINENTAL

THE STANDARD FAMILY
34567890$.,"-:;!?'
!Â»Â»!!
42 POINT STANDARD BOLD CONDENSED, AMSTERDAM CONTINENTAL
stuvwxyz1234567890$.,"-:;!?'
IMM
24 POINT (small) STANDARD BOLD CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNO
PQRSTUUWXYZ&ab
cdefghijklmnopqrs
tuvwxyz12345678
90$.,"-:;!?""
60 POINT STANDARD EXTRA BOLD CONDENSED, AMSTERDAM CONTINENTAL
YZ&abcdefghijklmnopqrstuvwx
yz1234567890$.,"-:;!?""
42 POINT STANDARD EXTRA BOLD CONDENSED, AMSTERDAM CONTINENTAL
ISO
THE STANDARD FAMILY
wxyz1234567890$.,"-:;!?""
24 POINT (small) STANDARD EXTRA BOLD CONDENSED, AMSTERDAM CONTINENTAL
ABCDEFGHUKLMNOPQR
STU VWXYZ&abcdef g h ij kl
mnopqrstuvwxyz12345678
90$.,"-:;!?""
CC"
30 POINT STANDARD EXTRA LIGHT EXTENDED, AMSTERDAM CONTINENTAL
ABCDEFGHUKLMNOPQRSTUVWXYZ
&abcdefghijklmnopqrstuvwxyz1234567
890$.,"-:;!?""
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz123
4567890$.,"-:;!?""
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqr
stuvwxyz123456789
0$.,"-:;!?""
42 POINT STANDARD LIGHT EXTENDED, AMSTERDAM CONTINENTAL

THE STANDARD FAMILt
YZ&abcdefghijklmnopqrstuvwxyz12
34567890$.,"-:;!?'
yz1234567890$.,"-:;!?""
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopq
rstuvwxyz12345678
90$.,"-:;!?""
42 POINT STANDARD EXTENDED, AMSTERDAM CONTINENTAL
xyzl 234567890$.,"-:;!?'
kill!
24 POINT (small) STANDARD EXTENDED, AMSTERDAM CONTINENTAL
wxyz1234567890$.,Il-:;!?"tf
12 POINT STANDARD EXTENDED, AMSTERDAM CONTINENTAL

cdefghijkl
mnopqrstu
vwxyz123
PQRSTUV
WXYZ&ab
HIJKLMNO
THE STANDARD FAMILY

60 POINT STANDARD EXTRA BOLD EXTENDED, AMSTERDAM CONTINENTAL

THE STANDARD FAMILY
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklm
nopqrstuvwxyz12
34567890$.,"-=;!
YZ&abcdefghijklmnopqrstuvwxy
24 POINT (small) STANDARD EXTRA BOLD EXTENDED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmno
184
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First edition of the Hebrew Bible, Solomon Soncino, 1488.

TIMES ROMAN, STEPHENSON BLAKE
ABCDEFGH abcde
TIMES ROMAN 327, MONOTYPE
ABCDEFGH abcde
Times Roman has a timeless
quality at once contemporary, tradition!
and authoritative in all ii:e>

ijklmnopgrstu
vwxyzfiffflffiffl
IJKLMNOP
YZ&abcdefgh
1234567890$,
QRSTUYWX
ABCDEFGH
THE TIMES ROMAN FAMILY
72 POINT TIMES ROMAN, MOULDTYPE FOUNDRY LTD.

cdefghij klmnopq
rstuvwxyzfiffilffi
KLMNOPQRS
TUVWXYZ&ab
ABCDEFGHIJ
ffl 1234567890$.,"
60 POINT TIMES ROMAN, MOULDTYPE FOUNDRY LTD.

ABCDEFGHIJKL
MNOPQRSTUVWX
YZ&abcdefghijklmno
pqrstuvwxyzfiffiiffiffl
1234567890$,"-:;!?""
48 POINT TIMES ROMAN, MONOTYPE
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmnop
qrstuvwxyzfffiflffiffll2
34567890$.;-:;!?
48 POINT TIMES ROMAN ITALIC, MONOTYPE
ABCDEFGHIJKLMNOPQ
klmnopqrstuvwxyzfifflffiffl 12
34567890$.,"-:;!?
15566

ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghijk
lmnopqrstuvwxyzjffiflffiffll23
4567890$.;-:;!?
VWXYZ&abcdefghijklmnopqrstuv
wxyzfiffflffiffll234567890$.,"-:;!7
199U
VWXYZ&abcdefghijklmnopqrstuvw
xyzfffiflffiM234567890$.;-:;!?
Z&abcdefghij klmnopqrstuvwxyzfiffflffiffl 123
4567890$.,"-:;!?""
567890$.,"-:;!?""
mnopqrstuvwxyzfifflffiffl 1234567890$./'-:;!?""

mnopqrstuv\vxyzfifflffiffll234567890$.;â€¢'-:;!?
Leonardo drawing of the letter G
Queftaletera G.fe forma cornel .C. del fuotondo cqua
dro. La gamba deritra dc forro uol erter alra un rer2o dd
fuoquadro: egroffa dele noue parti luna de laltcza dd
from "Oivina Proportione." Venice, 1509.
fuo quadrato.
To cast off manuscript with accuracy and
precision, is a task of a disagreeable nature,
which requires great attention and mature
deliberation. The trouble and difficulty is
much encreased, when the copy is not only
irregularly written (which is too frequently
the case), but also abounds with interlinea-
tions, erasures, and variations in the sizes
of paper. To surmount these defects the
closest application and attention is re-
quired; yet, at times, so numerous are the
alterations and additions, that they not un-
13,
To cast off manuscript with accuracy and pre-
.12 cision, is a task of a disagreeable nature, which
requires great attention and mature delibera-
tion. The trouble and difficulty is much en-
creased, when the copy is not only irregularly
written (which is too frequently the case), but
also abounds with interlineations, erasures,
and variations in the sizes of paper. To sur-
mount these defects the closest application and
attention is required; yet, at times, so numer-
ous are the alterations and additions, that they

not unfre^quently baffle the skill and judgment
of the most experienced calculators of copy.
Such an imperfect and slovenly mode of send-
%-.To cast off manuscript with accuracy and
%> precision, is a task of a disagreeable nature,
tions, erasures, and variations in the sizes
12
,4 cision, is a task of a disagreeable nature, which
mount these defects the closest application and
To cast off manuscript with accuracy and
precision, is a task of a disagreeable nature,
% cision, is a task of a disagreeable nature, which
To cast off manuscript with accuracy and precision,
is a task of a disagreeable nature, which requires
great attention and mature deliberation. The trou-
ble and difficulty is much encreased, when the copy
is not only irregularly written (which is too fre-
quently the case), but also abounds with interlinea-
tions, erasures, and variations in the sizes of paper.
To surmount these defects the closest application
and attention is required; yet, at times, so numer-
ous are the alterations and additions, that they not
unfrequently baffle the skill and judgment of the
most experienced calculators of copy. Such an im-
perfect and.slovenly mode of sending works to the
press (which is generally attended with unpleasant
consequences to all parties) cannot be too strongly
To cast off manuscript with accuracy and precision, is
10 a task of a disagreeable nature, which requires great
/1" attention and mature deliberation. The trouble and dif-
ficulty is much encreased, when the copy is not only
irregularly written (which is too frequently the case),
but also abounds with interlineations, erasures, and
variations in the sizes of paper. To surmount these de-
fects the closest application and attention is required;
yet, at times, so numerous are the alterations and addi-

tions, that they not unfrequently baffle the skill and
judgment of the most experienced calculators of copy.
Such an imperfect and slovenly mode of sending works
to the press (which is generally attended with unpleas-
ant consequences to all parties) cannot be too strongly
deprecated by all admirers of the art.
The first thing necessary is to take a comprehensive
view of the copy, and to notice whether it is written

ous are the alterations and additions, that they not
unfrequently baffle the skill and judgment of the
press (which is generally attended with Unpleasant
consequences to all parties) cannot be too strongly
'12
To cast off manuscript with accuracy aîd precision, is
a task of a disagreeable nature, which requires- great
attention and mature deliberation. The trouble and dif-
ficulty is much encreased, when the copy is not only
irregularly written (which is too frequently the case),
but also abounds with interlineations, erasures, and
variations in the sizes of paper. To surmount these de-
fects the closest application and attention is required;
yet, at times, so numerous are the alterations and addi-
tions, that they not unfrequently baffle the skill and
judgment of the most experienced calculators of copy.
Such an imperfect and slovenly mode of sending works
The first thing necessary is to take a comprehensive
view of the copy, and to notice whether it is written

To cast off manuscript with accuracy and precision, is a
9/ task of a disagreeable nature, which requires great atten-
* tion and mature deliberation. The trouble and difficulty is
much encreased, when the copy is not only irregularly
written (which is too frequently the case), but also abounds
with interlineations, erasures, and variations in the sizes
of paper. To surmount these defects the closest application
and attention is required; yet, at times, so numerous are
the alterations and additions, that they not unfrequently
baffle the skill and judgment of the most experienced cal-
culators of copy. Such an imperfect and slovenly mode of
sending works to the press (which is generally attended
with unpleasant consequences to all parties) cannot be too
strongly deprecated by all admirers of the art.
The first thing necessary is to take a comprehensive_
view of the copy, and to notice whether it is written even,
if it has many interlineations, &c. also the number of break
lines, and whether divided into chapters and sub-heads, in
order that allowance may be made for them in the calcu-
To cast off manuscript with accuracy and precision, is a task
of a disagreeable nature, which requires great attention and
mature deliberation. The trouble and difficulty is much en-
creased, when the copy is not only irregularly written (which
is too frequently the case), but also abounds with interlinea-

tions, erasures, and variations in the sizes of paper. To sur-
mount these defects the closest application and attention h
required; yet, at times, so numerous are the alterations and
additions, that they not unfrequently baffle the skill and judg-
ment of the most experienced calculators of copy. Such an
imperfect and slovenly mode of sending works to the prev,
(which is generally attended with unpleasant consequences to
all parties) cannot be too strongly deprecated by all admirer*
of the art.
The first thing necessary is to take a comprehensive view of
the copy, and to notice whether it is written even, if it has
many interlineations, &c. also the number of break lines, and
whether divided into chapters and sub-heads, in order that
allowance may be made for them in the calculation, so that the

plan of the work may not afterwards be infringed on. These
observations should be entered as a memorandum, on a sep-
To cast off manuscript with accuracy and precision, is a
/ii task of a disagreeable nature, which requires great atten-
tion and mature deliberation. The trouble and difficulty is
much encreased, when the copy is not only irregularly
written (which is too frequently the case), but also abounds
with interlineations, erasures, and variations in the sizes
of paper. To surmount these defects the closest application
and attention is required; yet, at times, so numerous urc
the alterations and additions, that they not unfrequently
baffle the skill and judgment of the most experienced cal-
culators of copy. Such an imperfect and slovenly mode of
sending works to the press (which is generally attended
with unpleasant consequences to all parties) cannot be too
lines, and whether divided into chapters and sub-heads, in
order that allowance may be made for them in the calcu-
To cast off manuscript with accuracy and precision, is a task
10 of a disagreeable nature, which requires great attention ai.d
mature deliberation. The trouble and difficulty is much en-
creased, when the copy is not only irregularly written (which
is too frequently the case), but also abounds with interlinea-
tions, erasures, and variations in the sizes of paper. To sur-
mount these defects the closest application and attention is
required; yet, at times, so numerous are the alterations and
additions, that they not unfrequently baffle the skill and judg-
ment of the most experienced calculators of copy. Such an
imperfect and slovenly mode of sending works to the press
(which is generally attended with unpleasant consequences to
all parties) cannot be too strongly deprecated by all admirers
of the art.
To cast off manuscript with accuracy and precision, is a task of a
disagreeable nature, which requires great attention and mature de-
liberation. The trouble and difficulty is much encreased, when the
copy is not only irregularly written (which is too frequently the
case), but also abounds with interlineations, erasures, and variations
in the sizes of paper. To surmount these defects the closest applica-
tion and attention is required; yet, at times, so numerous are the
alterations and additions, that they not unfrequently baffle the skill
and judgment of the most experienced calculators of copy. Such an
imperfect and slovenly mode of sending works to the press (which
is generally attended with unpleasant consequences to all parties)
cannot be too strongly deprecated by all admirers of the art.
The first thing necessary is to take a comprehensive view of the
copy, and to notice whether it is written even, if it has many inter-
lineations, &c. also the number of break lines, and whether divided
into chapters and sub-heads, in order that allowance may be made
for them in the calculation, so that the plan of the work may not
afterwards be infringed on. These observations should be entered
as a memorandum, on a separate piece of paper, to assist the mem-
ory, and save the trouble of re-examining the manuscript.
This preparation being made, we then take that part of the copy
for our calculation which comes nearest to the general tendency of
the writine, and reckon the number of words contained in one line,
previously counting a number of separate lines, so that the one we

To cast off manuscript with accuracy and precision, is a task of a dis-
agreeable nature, which requires great attention and mature deliberation.
6/ The trouble and difficulty is much encreased, when the copy is not only
6 irregularly written (which is too frequently the case), but also abounds
with interlineations, erasures, and variations in the sizes of paper. To sur-
mount these defects the closest application and attention is required; yet.
at times, so numerous are the alterations and additions, that they not un-
frequemly baffle the skill and judgment of the most experienced calcu-
lators of copy. Such an imperfect and slovenly mode of sending works to
the press (which is generally attended with unpleasant consequences to all
parties) cannot be too strongly deprecated by all admirers of the art.
The first thing necessary is to take a comprehensive view of the copy,
and to notice whether it is written even, if it has many interlineations, &c.
also the number of break lines, and whether divided into chapters and
sub-heads, in order that allowance may be made for them in the calcula-
tion, so that the plan of the work may not afterwards be infringed on.
These observations should be entered as a memorandum, on a separate
piece of paper, to assist the memory, and save the trouble of re-examin-
ing the manuscript.
This preparation being made, we then take that part of the copy for
our calculation which comes nearest to the general tendency of the writ-
ing, and reckon the number of words contained in one line, previously
counting a number of separate lines, so that the one we adopt may be a
fair average; we then take the number of lines in a page, and multiply
the one by the other, which we again multiply by the quantity of folios
the manuscript copy may contain, and thus we are put in possession of
the amount of the words contained in the work, with as little loss of time,
and as much accuracy as circumstances will admit; the necessary allow-
To cast off manuscript with accuracy and precision, is a task of a
disagreeable nature, which requires great attention and mature de-
liberation. The trouble and difficulty is much encreased, when the
copy is not only irregularly written (which is too frequently the
case), but also abounds with interlineations, erasures, and variations
in the sizes of paper. To surmount these defects the closest applica-
tion and, attention is required; yet, at times, so numerous are the
alterations and additions, that (hey not unfrequently baffle the skill
and judgment of the most experienced calculators of copy. Such an
imperfect and slovenly mode of sending works to the press (which
is generally attended with unpleasant consequences to all parties)
cannot be too strongly deprecated by all admirers of the art.
The first thing necessary is to take a comprehensive view of the
copy, and to notice whether it is written even, if it has many inter-
lineations, &c. also the number of break lines, and whether divided
into chapters and sub-heads, in order that allowance may be made
for them in the calculation, so that the plan of the work may not
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Weiss displays classical
dignity and suggesting elegance.

characteristics â€” lending
THE WEISS FAMILY
WEISS ROMAN, BAUER
INDUSTRY fireworks
ELIZABETH, BAUER
WORKMEN excursions
EUSEBIUS, LUDLOW
LINES display
0ER0OS ROMAN, ATF
COUNTRIES doubtful
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THE WEISS FAMILY
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THE WEISS FAMILY
Many years ago a cynical Frenchman sneered
14/ at England as the country of a dozen religions
and of one sauce. Yet Frenchmen and English-
men, and Americans too, persist in a simplicity
of taste concerning letters which some may re-
gard as equally narrow. The calligrapher of the
middle ages, who delighted to show his skill in
new forms of letters, would despise the plain-
ness of our printed books. There are modern
readers, also, who admire the freedom of the
letters made by engravers, others, again, who
like the (juaintness of the letters oj mediaeval
Many years ago a cynical Frenchman sneered at Eng-
land as the country of a dozen religions and of one
sauce. Yet Frenchmen and Englishmen, and Ameri-
cans too, persist in a simplicity of taste concerning
letters which some may regard as equally narrow.
The calligrapher of the middle ages, who delighted to
show his skill in new forms of letters, would despise
the plainness of our printed books. There are modern
readers, also, who admire the freedom of the letters
made by engravers; others, again, who like the quaint-
ness of the letters of mediaeval books, compared with
which Roman and Italic letters seem stiff, ungraceful,

and incapable oj pleasing combinations. Jo please
these tastes, and others not so severe, modern type-
16 at England as the country of a dozen religions
new forms of letters, would despise the plain-
letters made by engravers! others, again, who
like the cjuaintness oj the letters oj medixval
12 Many years ago a cynical Frenchman sneered at Eng-
14 land as the country of a dozen religions and of one

readers, also, who admire the freedom of the letters
at England as the country of a dozen religions
letters made by engravers,- others, again, who
like the tfuaintness oj the letters oj mediceval
Many years ago a cynical Frenchman sneered at Eng-
16 land as the country of a dozen religions and of one
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THE WEISS FAMILY
vtany years ago a cynical Frenchman sneered at England
is the country of a dozen religions and of one sauce. Yet
-renchmen and Englishmen, and Americans too, persist in
L simplicity of taste concerning letters which some may re-
tard as equally narrow. The calligrapher of the middle ages,
vho delighted to show his skill in new forms of letters,
vould despise the plainness of our printed books. There are
nodern readers, also, who admire the freedom of the letters
nade by engravers; others, again, who like the quaintness
>( the letters of mediaeval books, compared with which
Roman and Italic letters seem stiff, ungraceful, and incapa-
ble of pleasing combinations. To please these tastes, and
others not so severe, modern type-founders make many
forms of ornamental types, engravers and lithographers are
daily devising other jorms of more or less ingenuity and
Many years ago a cynical Frenchman sneered at England as the
country of a dozen religions and of one sauce. Yet Frenchmen
"J|fl and Englishmen, and Americans too, persist in a simplicity of
taste concerning letters which some may regard as equally nar-
row. The calligrapher of the middle ages, who delighted to show
his skill in new forms of letters, would despise the plainness of
our printed books. There are modern readers, also, who admire
the freedom of the letters made by engravers; others, again, who
like the quaintness of the letters of mediaeval books, compared

with which Roman and Italic letters seem stiff, ungraceful, and
incapable of pleasing combinations. To please these tastes, and
others not so severe, modern type-founders make many forms of
ornamental types; engravers and lithographers are daily devising
other forms of more or less ingenuity and merit. All of them have
admirers; but, though all may be useful, at least in the broad field
of job printing, they are not permitted in the standard book. 7he
world of letters is full of alphabets, and there are many of them
Many years ago a cynical Frenchman sneered at England
as the country of a dozen religions and of one sauce. Yet
Frenchmen and Englishmen, and Americans too, persist in
a simplicity of taste concerning letters which some may re-
gard as equally narrow. The calligrapher of the middle ages,
who delighted to show his skill in new forms of letters,

would despise the plainness of our printed books. There are
modern readers, also, who admire the freedom of the letters
made by engravers; others, again, who like the quaintness
of the letters of mediaeval books, compared with which
Roman and Italic letters seem stiff, ungraceful, and incapa-
jorms of ornamental types, engravers and lithographers are
daily devising other forms of more or less ingenuity and
country of a dozen religions and of one sauce. Yet Frenchmen
and Englishmen, and Americans too, persist in a simplicity of
taste concerning letters which some may regard as equally nar-
row. The calligrapher of the middle ages, who delighted to show
his skill in new forms of letters, would despise the plainness of
our printed books. There are modern readers, also, who admire
the freedom of the letters made by engravers; others, again, who
like the quaintness of the letters of medixval books, compared
with which Roman and Italic letters seem stiff, ungraceful, and
incapable of pleasing combinations. To please these tastes, and
others not so severe, modern type-founders make many forms of
of job printing, they are not permitted in the standard book. Jhe
world of letters is full of alphabets, and there are many of them
Many years ago a cynical Frenchman sneered at England
as the country of a dozen religions and of one sauce. Yet
Frenchmen and Englishmen, and Americans too, persist in
a simplicity of taste concerning letters which some may re-
gard as equally narrow. The calligrapher of the middle ages,
who delighted to show his skill in new forms of letters,
would despise the plainness of our printed books. There are
modern readers, also, who admire the freedom of the letters
made by engravers; others, again, who like the quaintness
/cirnis of ornamental types, engravers and lithographers are

THE WEISS FAMILY
country of a dozen religions and of one sauce. Yet Frenchmen and
Englishmen, and Americans too, persist in a simplicity of taste
concerning letters which some may regard as equally narrow. The
calligraphcr of the middle ages, who delighted to show his skill in
new forms of letters, would despise the plainness of our printed
books. There are modern readers, also, who admire the freedom of
the letters made by engravers; others, again, who like the quaint-
ness of the letters of mediaeval books, compared with which Roman
and Italic letters seem stiff, ungraceful, and incapable of pleasing
combinations. To please these tastes, and others not so severe, mod-
ern type-founders make many forms of ornamental types; engrav-
ers and lithographers arc daily devising other forms of more or less
ingenuity and merit. All of them have admirers; but, though all
may be useful, at least in the broad field of job printing, they are
not permitted in the standard book. The world of letters is full of
alphabets, and there are many of them that can be easily read, but
printers and publishers and readers are fully agreed that all stand-
ard works shall be in "Roman. Wo publisher dares print magazines
/11 country of a dozen religions and of one sauce. Yet Frenchmen and
Englishmen, and Americans too, persist in a simplicity of taste
concerning letters which some may regard as equally narrow. The
calligraphcr of the middle ages, who delighted to show his skill in

new forms of letters, would despise the plainness of our printed
books. There are modern readers, also, who admire the freedom of
the letters made by engravers; others, again, who like the quaint-
ness of the letters of mediaeval books, compared with which Roman
and Italic letters seem stiff, ungraceful, and incapable of pleasing
combinations. To please these tastes, and others not so severe, mod-
ern type-founders make many forms of ornamental types; engrav-
ers and lithographers arc daily devising other forms of more or less
printers and publishers and readers are fully agreed that all stand-
ard works shall be in Roman. Wo publisher dares print magazines
Many years ago a cynical Frenchman sneered at England as the country of

a dozen religions and of one sauce. Yet Frenchmen and Englishmen, and
Americans too, persist in a simplicity of taste concerning letters which some
may regard as equally narrow. The calligraphcr of the middle ages, who
delighted to show his skill in new forms of letters, would despise the plain-
ness of our printed books. There are modern readers, also, who admire the
freedom of the letters made by engravers; others, again, who like the quaint-
ness of the letters of mediaeval books, compared with which Roman and
Italic letters seem stiff, ungraceful, and incapable of pleasing combinations.
To please these tastes, and others not so severe, modern type-founders make
many forms of ornamental types; engravers and lithographers are daily de-
vising other forms of more or less ingenuity and merit. All of them have
admirers; but, though all may be useful, at least in the broad Held of job
printing, they arc not permitted in the standard book. The world of letters
is full of alphabets, and there are many of them that can be easily read, but
printers and publishers and readers are fully agreed that all standard works
shall be in Roman. No publisher dares print magazines or important vol-
umes in types that deviate from the Roman model. Whatever the subject-
matter, whether for the child in his nursery or for the wise man in his
study, the book must be in Roman, for it is with types as with dress-at
proper times man may wear any style oj dress thai pleases bis jancy. but
Many years ago a cynical Frenchman sneered at England as the country of
10 a dozen religions and of one sauce. Yet Frenchmen and Englishmen, and
Americans too, persist in a simplicity of taste concerning letters which some
may regard as equally narrow. The calligraphcr of the middle ages, who
delighted to show his skill in new forms of letters, would despise the plain-
ness of our printed books. There arc modern readers, also, who admire the
freedom of the letters made by engravers; others, again, who like the quaint-
ness of the letters of mediaeval books, compared with which Roman and
Italic letters seem stiff, ungraceful, and incapable of pleasing combinations.
To please these tastes, and others not so severe, modern type-founders make
many forms of ornamental types; engravers and lithographers are daily de-
THE WEISS FAMILY
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THE WEISS FAMILY
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I POINT WEISS INITIALS 1, BAUER
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DESIGNERS' AND SPECIALISTS' PAGES
Lester Beall 210
Eli Cantor 212
Sol Cantor 214
Chermayeff &. Geismar 216
Mortimer Leach 218
Herb Lubalin 220
Edward Rondthaler 222
Otto Storch 224
Aldo Novarese 226
Hermann Zapf 226

Lester Beall on Typ
1 Two pages from a style book
designed and written for the
Connecticut General Life Insurance
Company. This was prepared at the
conclusion of an integrated
corporate design program covering
letterheads, policies, labels and
many other items.
2 A portfolio of letterheads, old and
new, designed and written for
International Paper to introduce a
new line of business papers.
3 Ream wrap package, one of a senes
of product packages and an integral
part of a corporate design program
for International Paper.
4 Surface design of trailer truck, also
part of the corporate design
program for International Paper
210
ne development of a sense of good typography is essential to the development
: the good design-sense so necessary in creating any visual material, whether
be a package, a truck panel or a printed page. Type, like all graphic elements,
as many different characteristics or personalities. Some type faces are warm and
iendly, with-an added factor of readability. Others, though legible, are severe,
Did and lacking in readability. Readability connotes an aesthetic pleasantness
lat makes the type inviting to read. Legibility, on the other hand, does not mean
itter-to-letter identification, but instead refers to the degree of word-recognition
;sulting from the conjunction of a given number of letters. Words then are, in
ffect, type-shape associations. Because of the conformation of the letters of the
Iphabet and their interrelationship when grouped together, the type-shape asso-
iations assume the role of visual symbols, thereby quickening the rapidity with
'hich the literal meaning of the word is projected. The recognition of this phe-
omena is essential in the design of truck panels, packages, signs and posters,
'here quick recognition and continued remembrance of key words is imperative
Dr the effective projection of the product and/or message. However, the printed
age, meaning books, advertisements, brochures, etc., is basically concerned with
he following factors: (1) the legibility of the type areas; and, (2) the relationship
f the type area to the boundaries of the page and other design elements within
lese boundaries. As the design of all graphic material is predicated on the func-
ional relationship between the design (and its elements) and the theme or mes-
age the graphics are required to project, it is evident that type is a key factor in
he manipulation of these interrelationships (both physical and psychological),
keeping in mind that the function of a type area is its ability to project a literal
nessage, the manipulation of the type area for purposes of design, has legibility
imits that should not be exceeded. What these limits are, the designer must deter-
nine for himself with consistant awareness of the requirements of the reader.
â€¢Jevertheless, there are design situations in which type, in body or in individual
etter forms may be used primarily as a design tool. But the use of type under these
:onditions can only be made to function effectively when stripped of its normal
unction of transmitting a word message. In other words, type used abstractly as a
>art of the conceptual image of the printed page should not presuppose an im-
nediate literal interpretation of the basic message to be projected.
LESTER BEALL
From 1927 to 1935 he worked
independently in Chicago as a
graphics designer and during that
period played an important part in the
pioneering of modern design in

advertising. Since then he has spent
twenty years as head of a small
design staff in New York City and
from 1955 has practiced his profession
also with a small staff at Dumbarton
Farm, Brookfield Center, Connecticut.
American and foreign design
periodicals have reviewed his work
over a long period of years. He has
received numerous awards from
the Art Directors Club of New York,
American Institute of Graphic Arts,
Society of Typographic Arts, Package
Designers Council, Type Directors
Club and others. He is also a frequent
lecturer as well as the author of
numerous articles on design.
INTERNATIONAL PAPER
Eli Cantor is former Executive Editor and
chairman of the Production Committee of
The Research Institute of America. In both
roles, he followed the development of
photo-composition closely for many years.
His combination of editorial and production
experience provides an unusual vantage
point for evaluating the trends and uses
of modern graphics.
Eli Cantor on Photo-Typesetting:
The comments of Eli Cantor, President
of the Photo-Composing Room,
New York, are shown, right, in three
different typefaces set on the
'Monophoto,'a Lanston Monotype product.
Lmofilm (Mergenthaler), Fotosetter
(Intertype), and Photon are other leading
photo-composing typesetters in use today.
Experiments in the setting of type on film by direct
photography go back more than half a century, but
the idea received fresh impetus with the surge of offset
lithography as a major printing process in the past 20
years. Since lithographic plates are made from film
negatives or positives, hot metal has to be "trans-
lated" via the photographing of reproduction proofs,

but photo-composition starts with type on film. As
Goudy once said, "Every step that intervenes be-
tween copy and printed page is like pouring honey
from one glass to anotherâ€”you always leave some
behind." By starting with a photographic image and
eliminating one step, photo-composition delivers a
sharper, more faithful type character.
The added clarity of type-on-film will also aid
letterpress printing as materials like Dycril plates,
which use film to develop a letterpress-printing sur-
face, come into their own.
The basic process consists of these steps: First is the
photographing of individual characters into words
and lines on a galley of film. A proof of this galley is

then made on a special light-sensitive paper, on a ma-
chine like the Bruning or Ozalid. This does not re-
quire darkroom development, and multiple proofs
are turned out quickly and easily. They can be cor-
rected in pencil or ink, exactly as proofs of hot metal
type.
When proofs are returned for corrections, the new
lines are set and stripped into the original film galley.
There are several devices for assuring exact spacing,
square-up and alignment, and in general the making
of corrections in film is no more difficult or time-
consuming than in hot metal.
There is great flexibility of page makeup, chart-
work, combination of artwork and type in film
composition, since no metal or wood furniture is
required. Vertical and horizontal rules present no
problem, one line of type can overlay another, etc.
Spacing, too, is flexible. The major processes per-
mit line "leading" in increments of one point, and
several allow half-point spacing.
When proofs are finally okay, the job can proceed
to any one of several end products depending on the
printing requirements. For offset printing using sur-
face plates (for shorter runs), the typographer will
supply film negatives, "wrong-reading" on the
emulsion side of the film. For deep-etch offset plates,
the printer will want film positives, "wrong-read-
ing" on the emulsion side. For letterpress, using
Dycril plates, the typographer will furnish film nega-
tives "right-reading" on the emulsion side.
In dealing with film it is important to avoid am-

pven in terms of the type as it appears on the emul-
ion side of the filmâ€”that is, "wrong-reading" if
he line reads from right to left, and "right-
â€¢eading" if it reads normally from left to right.
In addition to film, the photo-typographer can
dso furnish reproduction proofs, crystal sharp,
lon-smudgeable, and even-colored.
One advantage of photo-composition is that
he introduction of darkroom and cameras into
iie type plant extends the range of services avail-
ible under one roof. An art studio, for example,
iced no longer set type in one shop, send for en-
argements to another, and for photo-copies of
artwork to still a third, etc. This central service
:an mean not only greater speed, but some econ-
omy since separate mark-ups can be minimized.
In specifying type for photo-composition, the
customer proceeds in the same way as for hot
metal, except that there is an even greater prem-
ium on careful copy-fitting. In all cases, one
important caution should be observed. Do not
specify film type on the basis of metal specimen
sheets. Although many photo-types are based on
traditional designs of the same names and size
designations, there are often considerable dif-

ferences. To be safe, work only from specimens of
the film designs themselves.
As for costs, the two processes are not directly
comparable, if only because photo-composition
carries the job a full step ahead of the final metal
product. In our own plant, which offers both
methods of typesetting, we find a large middle
area where jobs can be set either way, and the
deciding factor may simply be the available type
faces. On the other hand, photo-composition
seems clearly the choice where a children's book,
for instance, uses 20 point type, since this can be
set directly on the photo keyboard, saving the
expense of hand-setting required for metal of this

size. However, metal would be indicated where
an index, for example, is to be set 7 point solid
and there are likely to be many changes and run-
arounds of columns and pages. In the end, each
job must be analyzed separately for its suitability
for one process or the other.
The pendulum of cost will swing back and
forth with the rapid technological changes occur-
ring in this field. As just one example, there is
much current interest in methods of getting a film
negative directly from metal type without re-
quiring darkroom development. Such a system
may well combine virtues of both hot metal and
film composition, though it is no more likely to be
a fl nal answer than any of the other processes have
proved to be to date.
The future, in any case, belongs as much to the
photo-designers as to the photo-machines. There
is much less restriction in fitting characters, in
kerning, in forming new kinds of logotypes and
ligatures. And there is new leeway in type sizes;
we are able to offer 9>Â£ point type, for example, or
15 point, or other sizes not available in metal. It
remains to be seen what use is made of this free-
dom by the manufacturers. So far, they have pro-
ceeded mostly on the basis of the traditional forms
and limitations.
It is easy to over-glamourize photo-composition.
It is clearly a valuable complement to metal com-
position, but there may be some doubt as to wheth-
er it will bring the revolutionary displacement of

Sol M. Cantor, President of The Composing
Room, Inc., noted New York typographers,
received the 1963 Elmer G. Voigt Award
"for exemplary service in the field of
Graphic Arts Education." Past President
of the Typographer's Association of
New York, and the International Trade
Composition Association, he is widely
known as a craftsman and inventor who
has introduced many of the major
refinements in modern machine typography.
Sol Cantor on Type:
THE TYPOGRAPHER'S relation to the typographic
designer or production man is something like that of
an orchestra to a composer. The type buyer "writes
the score" in specifying the job, but the typographer
must give it form and substance.
As in the case of an orchestra, one out-of-tune in-
strument can sour the performance.
As a practical matter, the "virtuoso" typographic
plants, which perform with consistent excellence,
stand out in four main ways. First, they provide the
best craftsmen and machines; second, they offer a
wide-range type library; third, they adhere to a rigid
quality control program; and fourth, they take pains-

taking care with the niceties of spacing and letter-
fitting which distinguish typography from typesetting.
But it is quality control which more than any other
single factor determines the excellence of the typo-
graphic orchestra. The finest machines and craftsmen
come to nothing unless a typographer maintains a
rigorous, daily plan of control. The following program
furnishes a useful checklist for type purchasers in
judging typographic performance, particularly of slug-
casting machines.
1. Whether the end product is reproduction proofs
or metal locked up for foundry, the key factor is that
type should be of uniform height at .918" (plus or minus
.001"). Ideally, no slug-casting machine job should be

started until a slug has been micrometer-checked for
height and thickness.
2. Metal alloy should be analyzed regularly to make
sure the elements are in proper balance.
3. Saws and similar equipment should be checked
during each shift to make sure all cuts are square to
.001". Only in this way can perfect vertical alignment
and square text be assured.
4. Hairlines can be eliminated nearly 100% by care-
ful maintenance or replacement of matrixes. The buyer
of type should realize that matrix prices have mounted
steadily over the years, so that regular replacement is
a heavy cost burden on the typographer; fortunately,
new inventions help prevent the kinds of matrix wear
which cause most hairlines, and these are being used
successfully in quality plants.
5. Who has not seen lines which look like this in-
stead of aligning perfectly? This occurs as the result
of wear on the matrix aligning lugs. As with hairlines,
however, new inventions can now correct this diffi-
culty, and the type buyer should feel free to impose a
very strict standard of alignment on his supplier today.
6. When a quality program is based on the major
controls indicated above, it pays a dividend which
comes as a welcome surprise to the customer. Not
only does the job emerge exactly as he visualized it,
with clean, crisp quality, but the price is very little, if
any, more than the cost of inadequate typesetting.
By starting with quality type, the buyer saves money
all along the production line. Press makeready is fast-
er, getaway time is quicker, and there are fewer delays

a. Never far away from his cherished tool box and work-
bench, Sol Cantor restores a worn linotype matrix to
factory-new specifications on his invention, the Align-
A-Mat.
b. These slug-casting machines, like all other typographic
tools, are only as good as the craftsmen who run them.
Mechanization and automation have a very long way to go
before they can make the judgments on spacing, letter-
fitting, word-breaks, etc..that go into quality typography.
c. The compositor working at the "stone" may be hand-
setting foundry type, or making up pages-putting to-
gether machine type, hand type and cuts. He must serve
an apprenticeship of six years.
d. The proof of quality control is in the proofing. Where all
elements of composition have been held to micrometer
precision, the final proof gives razor-sharp letters, even
color throughout.
b.
Concerning Typography and Architecture
by Ivan Chermayeff and Thomas Geismar
Chermayeff &. Geismar Associates
The clean lines and undecorated surfaces of most new build-
ings cause any signs or letter forms that appear on them to
be even more demanding than in the days of more ornate
architectural styles. Consequently many modern architects
concerned with public and commercial buildings have be-
come increasingly aware of the importance of consistent and
well integrated lettering.
The typographer involved with such problems must be con-
cerned both with the normal problems of good typography
and with the special problems of working in three dimensions.
He must be aware of the competition of building surfaces
such as the demanding textural quality of brick and mortar,
or the reflections of glass and steel. He must be concerned
with the effect of sunlight and changing shadows, and the
consequent effect on legibility. He must be aware that letters
are more often seen at an angle than straight on, and often
when the viewer is in motion. He must consider that illumina-
tion at night changes the form of letters from what they ap-
pear to be in daytime, consequently effecting the choice of
form, spacing, and color. And he must realize that many type
faces that are basic to the world of the printed page, particu-
larly the common book faces such as Bodoni, Baskerville, and

Garamond, can rarely be successfully adapted to the world
of three-dimensional letters.
The designer should also be concerned with what signs
say. His experience with the problems of communication
should enable him to help the architect to define, integrate,
eliminate, and simplify the language and placements of
words. For the most satisfying results are achieved when all
signs are as readable as suits their function, as consistent
with one another as common sense will allow, and as inte-
grated with the architecture as good taste makes possible.
1.2) A new type face, specially designed for The Chase Manhattan Bank,
has been applied to all signs as well as printed matter. The extended style
of the letters was designed not only to be distinctive, but also to be easily
read at extreme angles.

3) Part of an alphabet specially designed for the Manufacturers Hanover
Trust Company, principally for use on illuminated signs,
4) Signs at Tulsa Municipal Airport utilize Standard Medium caps and lower
case throughout for maximum legibility. The functional appearance is con-
sistent with the architecture,
5) The character and scale of typical American street signs expressed in
fragment form at the American Pavilion. Brussels World's Fair. The problem
was to capture the spirit of the city rather than to reproduce a real situation.
6) Symbol and sign for shopping center utilizes a white background to isolate
the lettering from the demanding brick surface.
7) A typographic symbol for Central Junior High School used in a free re-
peat arrangement as a decorative bronze mural contrasts with the inexpen-
sive wall surface.
MARKETING ADVERTISING
ECONOMIC RESEARCH
LIBRARY
PUBLIC RELATIONS
PHOTO STUDIO
12345
216
Typography for architecture is only one of the many fields in which Chermayeff &. Geismar Asso-
ciates are active. Their work has received numerous awards in all of the major design shows.
Ivan Chermayeff (right): Born 1932. Studied at Harvard University and the Institute of Design, Chi-
cago; received BFA from Yale University School of Art and Architecture. Assistant to Alvin Lustig
and an Assistant Art Director at Columbia Records before free-lancing. Formed Brownjohn, Cher-
mayeff & Geismar office in 1957; Chermayeff &. Geismar Associates in 1960. Instructor in Advertising
Design at Brooklyn College 1956-7; currently teaching Advertising Design, School of Visual Arts.
Board of Directors, American Institute of Graphic Arts. 1960; Vice President, 1961-2; President, 1963.
Thomas Geismar: Born 1931. Received BA degree from Brown University, graduating cum laude;
elected to Phi Beta Kappa; received MFA degree from Yale University School of Art and Architecture.
Served two years with U. S. Army as an exhibit designer; free-lanced as book, exhibit and graphic
designer. Formed Brownjohn. Chermayeff &. Geismar office in 1957; Chermayeff &. Geismar Asso-
ciates in 1960.
Mortimer Leach on Lettering:
Many alphabet styles convey particular moods, and
their various potentials should be of major concern
to art directors, graphic artists and typographers in
designing an ad, package or display. The mood in-
voked by a particular style should complement the
all-over design, relate to the kind of product, and in
space advertisements, interpret the spirit of the head-
line copy â€” factors which are frequently by-passed
at present. Alphabets can portray a variety of feelings
or moods, such as stability, strength, an avant-garde
quality or that of a past era, shock, precision, femi-
ninity or masculinity, etc.
To the wide range of choices, the comparatively
recent renaissance in the field of type design has
added the Torino family with its lissome italics, the
graceful Modern #20, the sensitive Optima family
and the linear, even-toned Microgramma, along with
redesigns of the "best of the 19th Century" including
such precisely cut letters as the Clarendons, Consort,
and Egizio. Many new sans-serif forms such as Univers
and Folio, among others, have also appeared (with
long overdue color adjustments).
In discussing the role of type from a lettering man's
viewpoint, I must resort to the much used and yet all

important word "communication." This is the major
role of type â€” to attract the eye and deliver the mes-
sage quickly and clearly.
I believe that a good lettering man can perform this
function better in most cases, freed as he is from the
limitations of metal type. He can hold more even color
by modifying the widths of the letter combinations, by
adjusting the letter spacing and by imparting his
personal interpretation of letter forms. However, he
does not object to the use of good typography. His
objection comes when he sees a typeset caption
which he knows he could have bettered.
Sadly enough, the number of good lettering men in
this country is diminishing, a fact for which the graphic

arts field as a whole can be held responsible. If only
for reasons of self interest, the industry should help to
perpetuate and foster this vitally needed art.
If type's role is to communicate with the reader in
an attractive manner, it should deliver the message in
the right "tone of voice." At all times the designer
should seriously consider the use of type styles other
than those which are currently in vogue. This clearly
is not a project for a lazy mind. There are hundreds of
alphabets available in various styles, weights and
proportions waiting to be gainfully reemployed. With
this great range of choice, it is disturbing to note the
tendency to follow-the-leader in type choices. There
are, fortunately, some graphic designers who have
the knowledge and courage to try virtually unused
type forms. Following the successful use of an old
form for a unique effect, it is remarkable how quickly
scores of other designers follow suit. Sometimes it is
right (usually in a similar format), but often it is used
without thought.
This unquestioning use of a style applies also to
new type designs. A good, newly designed type family
can be advantageous for the graphic designer since
it offers a new vehicle for expression. It is only when
the new type is used in too many ads in magazines,
newspapers and mailings that it becomes hackneyed.
Along with the many new type offerings, several of
the older styles are still being used. The very old and
lovely Baskervilles are often seen in current adver-
tising since their reappearance some years ago. Some
designers have recently found that the ungainly Chelt-

MORTIMER LEACH
Served on art staff of BBDO and the then
Lennen-Mitchell, N.Y.C. Free-lanced for several years
in New York. Presently maintains own studio in
Los Angeles and is Senior instructor of lettering,
Art Center School. Author "Lettering for Advertising"
and "Letter Design". Has received ADC, AIGA
and other national awards.
WE'LL BUY THE
SHORTCAKE
YOU BUY THE
REDDI-WIP
fh\s format of stacked lines, done for A.D. Asa Duff,
equired lettering in order to regulate the letter-spacing
ind avoid any openings which would add more vibration
o the "marquee-lighted" word and bars.
This caption was done in a baroque 19th Century style
for Cole bathing suits. I felt that placing the small
dots within the decorative serifs gave the letters a lacy
feeling, which was helpful in an ad directed to women.
When you care enough
to send the very best"
Lettered for Hallmark several years ago.

Herb Lubalin on Type:
Good typography is essential wherever words
are used visually. Unfortunately, too much is
said about good typography and not enough
set. The ads on this spread were designed to
influence people with an interest in the aes-
thetics of design and typography to use our
services. The ads were successful. They speak
for themselves.
a. & b. "let type talk
Some ads must whisper, some must shout. But
whatever the tone of voice, creative typogra-
phy speaks with a distinction that sets your
advertising above the clamor of competing
messages."
c. "ughl'ly?
Ugliness, like beauty, is in the eyes of the be-
holder. It is a value imposed upon a thing
which, properly used, might well be called
beautiful. We try to avoid misleading labels.
Our business is to design for advertising.
Typography is one of our essential tools. If
what we do with it is effective, we don't care
if it is called pretty, ugly, or pretty ugly.
d. "IT TAKES ALL TYPES

In wooing a woman or a customer, no single
technique has yet been invented that, to our
knowledge, is infallible. And yet the advertis-
ing business seems to develop periodic pas-
sions for a single font of wisdom. Unfortunately,
when all products are dressed alike in a single
advertising style and their messages ad-
dressed alike to all customers, their individual
notes of me-me-me become indistinguishable
in the chorus of me-toos. We don't believe in
this kind of type casting. To us, the heart of
each ad is a simple, vital, selling idea.
e. "SH&L Expanded
A familiar face to people who work with fine

design and typography. We offer a wide range
of uses from small space campaigns to large
corporate image projects. We offer a Bold
Face (for impact), Oblique (new ways of view-
ing old problems), and Casual (no straining for
mere effect)."
f. "The best typography never gets noticed.
When a good ad is set right, no one notices the
type,,
** i O I \Z
Ld.JLl\.
.' sboul But riutfitr
the tone of wife, creative typography speaks n-ith a distinction tiat *f;
your advertising above the clamor of competing messages Type a pal nx
of the creative tools used with skill and imagination at SuJler & Hennan
Some of the results may be-mseen in the Type Directors Club Jianb ssiae
in this issue Call us and
talk
type
a.
let's
talk
type
talk
letters â€” they're too busy reading the words."

a. Designer Herb Lubalin
Artist John Pistilli
Typographer The Composing Room
b. Designer Herb Lubalin
Artist John Pistitli
c. Designer Herb Lubalin
d. Designer Herb Lubalin
Artist Gerry Qersten
Typographer Graphic Arts
e. Designer Herb Lubalin
f. Designer Herb Lubalin
alin is Vice President and
Director of Sudler &. Hennessey,
n. he is Director of SH&L,
Hennessey's Design Division,
ie lends his initial as well as
t.
3, Lubalin has received more

wards for his work from the
Art Directors Club, The Type
Club, the A.I.G.A. and others.
s National Society of Art
awarded him its highest honor,
:tor of the Year."
ughS'ly?
Me beauty, is m the eye of the beholder It is a value imposed upon
*ctx property used, might well be calked beautiful. At UAL we try to
eadmg labels Our business is to design for advertising Typography
M essential tools If what we do with it is effective, we don't care if
i pretty, ugfy, or pretty ugly If you think as we do. we ought to get
>i Herb Lubaim at Plaza 11250. where we take the ugh) out ot ugly
â€¢.
In wooing a woman or a customer no single technique
has yet been invented that, to our knowledge, is infallible.
And yet the advertising business seems to develop peri-
odic passions for a tingle font of wisdom. Unfortunately.
when all products are dressed alike in a single advertis-
ing style and their messages addressed alike to alt custom-
ers, their individual notes of me-me-me become indistin-
guishable in the chorus of me-toos We don't believe in
this kind of type-casting. To us. the heart of each ad is a
simple, vital, selling idea. To convey it, our illustration
can be art. photography or type: our sell can be soft or
hard, our copy long or short. It takes all types. Call SH&L
The best
typography
nevergets
noticed.
When a good ad is set right, no one notices the lettersâ€”they're too busy reading the words.
MM
221
Edward Rondthaler on Photo-Lettering:
EDWARD RONDTHALER
President of Photo-Lettering Inc.
[1936-present). He majored
in physics and psychology
at the U. of North Carolina
(A.B. '29J. He began his career in
photo composition with the
development of the RutheHord
Photo-Lettering Machine (1932-6J
and now holds patents in
mathematical devices, optics,
and photo composition.
Photo-Lettering's role in typography is that of a cru-
sader. This is a challenging role, not fully welcomed
by the typographic purist who questions the propriety
of tampering with metal type's 500-year status quo.
Yet, it is an open fact that metal type has fallen far
behind the creativity and imagination of those con-
cerned with design of the printed word. Perhaps type's
most glaring deficiency is its basic lack of flexibility.
In this respect, little progress has been made since
1450. And here is precisely where photography offers
a breakthrough.
Photography is no stranger to the printing industry.

It has made profound changes wherever applied: in
photo-lithography, photo-offset, photo-gravure, photo-
gelatine, in halftone, 4-color and line engravings, and
more recently in photo silk screen and photopolymer
plates for letterpress. It still remains to be seen how
far reaching the impact of photo-lettering and photo-
composition will be, but sufficient groundwork has
already been done to give some indication.
FITâ€”It is obvious that the irregular shapes of many
letters do not easily conform to the rectangular blocks
of metal type. The letter "H" forms a perfect rectangle
and fits naturally on a rectangle, a "V" does not. It
should be placed on a triangle, and "O" on an oval.
Forcing each and every letter onto a metal rectangle

cramps the type designer's style, and virtually guaran-
tees poor spacing.
DESIGNâ€”Cutting a new type face has always been
the typefounder's most hazardous gamble. To convert
a new alphabet from drawing to metal type is an ex-
pensive undertaking, and no foundry dares embark on
such a project until it is absolutely sure that the style
will more than pay for itself. Photography removes the
gamble. A test run of the proposed type in photo-
lettering will determine its popularity and disclose any
design flaws. This approach was first used in 1950,
with a commercial testing of "Dom Casual" by Photo-
Lettering for a full year before metal casting was
undertaken.
PROPORTIONSâ€”It is often assumed that type's 13
sizes between 6 and 72 point are evenly graduated
steps. Far from it. The step from 18 to 24 point is
33%, while from 42 to 48 point, it is only 14%. Photog-
raphy carries this still further in its ability to condense,
expand, oblique, compress, extend or otherwise re-
proportion letters to fit precisely into the allocated
space. A photo-letterer with 10,000 derivatives of
every character at his fingertips has little desire to
relinquish this flexibility for the typographer's 13-step
strait jacket.
The challenge of Photo-Lettering's flexibility has
been met by the French foundry, Deberny et Peignot,
in a very interesting way. Their type designer, Adrian
Frutiger, has designed a sans serif in 21 weights and
widths, each cut in sizes up to 48 pt. This is "Univers."
the most versatile gothic to be found in metal. For

light, a detail
com a promotion piece
lone with Photo-Lettering.
:â€¢.-.-, an example of
'hoto-Lettering master designs
:overmg the weights and widths of
mprovcnu from normal to expanded.
\BCDBCDEFG
\BCUVWXVZ/
3TUNOPQRST
/ABWXYZABC
MILTEFGHJKL
NOPMKLMNC
WXYRSTUVto
HIKTABCDEFI
SUBNOPQRS
ENUIMPROVI
ABCDEFGHh
UVWX\ZAB(
NOPQRSTUX
WXYZABCD
EFGHJKLMI
JKLMNOPQ
RSTUVWXY
ABCDEFHIK
NOPQRSUB
DEFABCDE
NOPH KLMh
STUJQRSTl
ZABIWXYZ
DEKCDEFG
NOM NOPC
STYSTUWV
DEFABCDE
MNOKLMM
ABCDEFG
HKLMNOP
JQRSTUV
WXYZABI
CDEFGHK
MNOPQR
STUVWXV
UKLMNO
ABCDEG
KLMNOP
RSTUV L
WXYZITT
DEFGHK
NOPQR1
STUVWT
ABODE F
KL.MNO
ABODTr
HMMOR
RSTUV L
WXYZTI
DEOHK
ABODE
â€¢VIIMOLa
IIWCI
MONDAY NOVEMBER 10
First Appearance at the Grand Opera House of Mr.
SUIJJVAlff
When hi- will enact his celebrated character of
HAMLET
IN SHAKESPEARE'S PLAY OF THAT TITLE
Entirely New and Appropriate Scenery, New and
Correct Costumes & Every Act carefully prepared
HAMLET MATINEE!
ON SATURDAY NOV. 15
Otto Storch on Type:
Otto Storch is Vice President, Art Director of
McCall's. Formerly Art Editor of Better Living Mag.,
Art Director of Jens Risom Design, Free Lance Artist
and consultant Art Director. Studied at N.Y.U., Pratt
Institute, Art Students League, Art Assoc. and New
School for Social Research. A member of the Type
Directors Club, Soc. of Illustrators, Art Directors Club
of New York and is on the Executive Board of N. Y.
MOTWTSEOgT
the fort-winks reducin
Art Directors Club. Received 6 Gold Medals, 10 Dis-
tinctive Merit Awards and numerous Certificates of
Merit from N. Y. Art Directors Club. In 1960 received
Art Directors Club Special Gold Medal Award for
"Outstanding Art Direction of McCall's Magazine."
224
ould like to state some of my thoughts and ap-
iach to typography as a magazine art director.
While generally typography is used in the same way
all designers, some differences do exist between
torial and advertising.
irôst advertising agencies have type directors on
ir staffs who sometimes select the type face, point
3, letter spacing and leading to be used. A maga-
e art director does this himself.
\n advertising art director knows that a single ad-
visement for a product will appear at a time and
st compete with all others; while in the main dis-
y section of a magazine there may be over sixty
torial pages running together. In order to avoid
notony, it is usually desirable to change sizes and
sition of titles and text from spread to spread,
t is more interesting for the reader if the visual
ce of the magazine varies. Some pages can be
iet and others bold, some restful and others excit-
I, some with pictures dominating the layout and
lers with no pictures at all.
I believe that all art directors strive for the same
als, to produce work that will not only inform but
tertain the reader as well.
We cannot afford to be dull. A good procedure to

low is to first get a good idea for the page. Poor
esentation may sometimes ruin a good idea but
e best pictures and most brilliant typography can-
t make a bad idea come off.
I do not think that typography is an end in itself, but
at it is a component part of the whole message.
; r me, idea, copy, art and typography are inseparable.
When selecting type a person depends upon his
:perience for technical proficiency and his creative
'ility to give the page that extra little sparkle. What
ce you select will always be a matter of personal
dgment. There are no rules that are able to tell you
use a particular type face in any given situation.
There are not many hard and fast rules that cannot
s broken. No one can say that type should or should
it surprint a picture if it is done successfully. No one
in say that a headline should be hand lettered or set
type or that it should be large or small. No one can
y that a headline must always be on the top or the
)ttom of the page or that it must fill a horizontal or
irtical space. These considerations must be met by
e person building the layout with his experience and
dgment of what is good or bad and his degree of
fectiveness as a communicator.
Aldo Novarese was born in 1920. After his
graduation from the G. B. Paravia Scuola
Tipografica of Turin in 1936, he joined
the Nebiolo art studio. He returned to the
Scuola Tipografica as a teacher in 1949
and started a course for the study of
type. In 1952 Mr. Novarese was
appointed director, Nebiolo studio,
where he designed Eurostile and Egizio
among other type faces.
Aldo Novarese on Type:
To create a type face, one must have a definite line to
follow, which may be determined either by the neces-
sity of renewing old but still useful faces in a foundry's
catalogue, or by the wish to introduce brand new
ones. In both cases the chief problem is to conciliate
the creator's taste with that of the user.
Present day typographers must keep on hand a
well assorted stock of types, just as an elegant lady's
wardrobe must contain a dress for every occasion and
every hour of the day.
Choosing the right type for every single job is up
to the designer's sensibility, but it takes the artist's
insight to foresee his needs.
Hermann Zapf was born in Nuremberg

in 1918. When he was 18 he began to
teach himself lettering, and shortly
thereafter his first type face was cut by
the Stempel type foundry. Now, as
designer at that same foundry, Mr. Zapf
lectures, writes and edits works on type.
Among the more than 50 type faces that
Mr. Zapf has designed are: Palatino,
Melior, Optima, Michelangelo and Sistina.
Hermann Zapf on Type:
In designing a new type face the contemporary type
designer sees his task as inventing letter forms in the
spirit of our time, conceived to meet the requirements
of modern printing methods. Unless a synthesis can

be found of these two essential factors, a new type
design has no right to exist, for there is no lack today
of good printing types. To appeal to contemporary
taste the legibility of a modern book face is of par-
ticular importance and its letter forms should be clear
and simple. Fashionable extravagances which maybe
suitable in display type, and even necessary to meet
the special requirements of printed advertising,
should definitely be eliminated in the design of a
modern book or newspaper face.
The typographic design of a book demands deli-
berate care in the selection of the type face to be
used. This is particularly important if a book, in its
entire conception, is designed to reflect modern think-
ing and the taste and style of our age. Books which
lay claim to being representative of the style of our
time, and which are based on concepts comparable
to those on which modern forms are based in archi-
tecture and industry, therefore, can scarcely be set in
neo-historical type faces. Similarly, if Bodoni Had
merely continued to copy Fournierâ€”as he did during
the first years of his independent workâ€”his books
would not be noted as outstanding achievements in
the history of the art of the book. It was not until he
used printing types in the style of his time that his
books became truly representative of the age.
226
Scripts 363
Classic Styles 371

Display Faces 254
Text Faces 228
Foreign Faces 390

Romantic Styles 398

SUPPLEMENTARY FACES
CALEDONIA
TEXT FACES
12/
A2
THE HISTORY OF PRINTING BY PHILIP
LUCKOMBE, 1770. Having given a list of
the places where, and by whom first intro-
duced, in Europe, we shall now observe
that it extended itself to Africa and America,
not indeed at the invitation of the natives,
especially of America, but by means of the
Europeans, and particularly of the Spanish
missionaries; who carried it to the latter for
their ends, where it has made some progress.
Printing houses being set up in the cities of
Goa, Rachol, &c. in the country of Salsetta;
Manilla, the metropolis of the Philippine is-
lands, ire. from whence there have been sev-
LUCKOMBE, 1770. Having given a list of the
places where, and by whom first introduced, in
Europe, we shall now observe that it extended
itself to Africa and America, not indeed at the
invitation of the natives, especially of America,
but by means of the Europeans, and particularly

of the Spanish missionaries; who carried it to the
latter for their ends, where it has made some
progress. Printing houses being set up in the
cities of Goa, Rachol, &c. in the country of Sal-
setta; Manilla, the metropolis of the Philippine
islands, &c. from whence there have been sev-
eral productions that have found their way to
Europe. We find also that several Printing-houses
12.

Xs LUCKOMBE, 1770. Having given a list of the
Europe, we shall now observe that it extended
itself to Africa and America, not indeed at the
invitation of the natives, especially of America,
but by means of the Europeans, and particularly
of the Spanish missionaries; who carried it to the
latter for their ends, where it has made some
progress. Printing houses being set up in the
cities of Goa, Rachol, &c. in the country of Sal-
era/ productions that have found their way to
Europe. We find also that several Printing-houses
12
i6 LUCKOMBE, 1770. Having given a list of

DALEDONIA
TEXT FACES
Europe, we shall now observe that it extended itself
to Africa and America, not indeed at the invitation
if the natives, especially of America, but by means
)f the Europeans, and particularly of the Spanish
missionaries; who carried it to the latter for their
?nds, where it has made some progress. Printing
bouses being set up in the cities of Goa, Rachol, &c.
in the country of Salsetta; Manilla, the metropolis of
the Philippine islands, &c. from whence there have
been several productions that have found their way
to Europe. We find also that several Printing-houses
were erected very early in the city of Lima, capital
of the empire of Peru, and in several cities of the
kingdom of Mexico. We shall only add, that some
THE HISTORY OF PRINTING BY PHILIP LUC-
KOMBE, 1770. Having given a list of the places where,
and by whom first introduced, in Europe, we shall now
observe that it extended itself to Africa and America,
not indeed at the invitation of the natives, especially of
America, but by means of the Europeans, and particu-

larly of the Spanish missionaries; who carried it to the
latter for their ends, where it has made some progress.
Printing houses being set up in the cities of Goa, Rachol,
&c. in the country of Salsetta; Manilla, the metropolis of
the Philippine islands, &c. from whence there have been
several productions that have found their way to Europe.
We find also that several Printing-houses were erected
very early in the city of Lima, capital of the empire of
Peru, ana in several cities of the kingdom of Mexico. We
shall only add, that some Danish missionaries, sent to
the coast of Tanquebar, who had good success there in
converting a great number of the natives, had sent to

of the natives, especially of America, but by means
of the Europeans, and particularly of the Spanish
ends, where it has made some progress. Printing
houses being set up in the cities of Goa, Rachol, &c.
of the empire of Peru, and in several cities of the
kingdom of Mexico. We shall only add, that some
THE HISTORY OF PRINTING BY PHILIP LUC-
KOMBE, 1770. Having given a list of the places where,
and by whom first introduced, in Europe, we shall now
observe that it extended itself to Africa and America,
not indeed at the invitation of the natives, especially of
America, but by means of the Europeans, and particu-
larly of the Spanish missionaries; who carried it to the
latter for their ends, where it has made some progress.
Printing houses being set up in the cities of Goa, Rachol,
&c. in the country of Salsetta; Manilla, the metropolis of
the Philippine islands, &c. from whence there have been
several productions that have found their way to Europe.
We find also that several Printing-houses were erected
the coast of Tanquebar, who iiad good success there in
converting a great number of the natives, had sent to

â€¢ CALEDONIA BOLD
TEXT FACES
12/ LUCKOMBE, 1770. Having given a list of
/13 the places where, and by whom first intro-
Printing houses being set up in the cities of
Goa, Rachol, 6-c. in the country of Salsetta;
10,
,, places where, and by whom first introduced, in

houses being set up in the cities of Coa, Rachol, &c.
been several productions that have found their way
2/ LUCKOMBE, 1770. Having given a list of

Goa, Rachol, &c. in the country of Salsetta;
0/ LUCKOMBE, 1770. Having given a list of the
12 places where, and by whom first introduced, in
houses being set up in the cities of Goa, Rachol, &c.
â€¢â€¢16
Goa, Rachol, ire. in the country of Salsetta;
10

CHELTENHAM
TEXT FACES
Type is defined as a right-angled, prism-
shaped piece of metal, having for its face a
letter or character, usually in high relief,
adapted for use in letter-press printing; and
type in the aggregate is described as an as-
semblage of the characters used for printing.
In a single type the chief points to be de-
scribed are the face, counter, stem, hair-line,
serif, beard or neck, shoulder, body or
shank, pin-mark, nick, feet, and groove.
The accompanying diagram of a piece of
type (jig. 2) shows its face, body, nick,
Type is defined as a right-angled, prism-shaped
12/ piece of metal, having for its face a letter or char-
/'2 acter, usually in high relief, adapted for use in
letter-press printing; and type in the aggregate is
described as an assemblage of the characters used
for printing. In a single type the chief points to be
described are the face, counter, stem, hair-line,
serif, beard or neck, shoulder, body or shank, pin-
mark, nick, feet, and groove.
The accompanying diagram of a piece of type
(fig. 2) shows its face, body, nick, groove, feet,

and pin-mark; and the plan of the face (fig. 3)
shows the stem, hair-line, serif, counter, beard,
and shoulder.
type (fig. 2) shows its face, body, nick,

% piece of metal, having for its face a letter or char-
acter, usually in high relief, adapted for use in
The accompanying diagram of a piece of type
and shoulder.
type (fig. 2) shows its face, body, nick,
piece of metal, having for its face a letter or char-
'16 acter, usually in high relief, adapted for use in

CHELTENHAM
TEXT FACES
Type is defined as a right-angled, prism-shaped piece of
0/ metal, having for its face a letter or character, usually in
4o high relief, adapted for use in letter-press printing; and type
in the aggregate is described as an assemblage of the charac-
ters used for printing. In a single type the chief points to be
described are the face, counter, stem, hair-line, serif, beard
or neck, shoulder, body or shank, pin-mark, nick, feet, and
groove.
The accompanying diagram of a piece of type (fig. 2)
shows its face, body, nick, groove, feet, and pin-mark; and
the plan of the face (fig. 3) shows the stem, hair-line, serif,
counter, beard, and shoulder.
The body (or shank) of a piece of type is the metal be-
tween the shoulder and the feet (described later), and the
term "body" is also used to denote the size or thickness of
types, leads, etc. The pin-mark is an indentation on the up-
per part of the body, made by the pin in casting. The nick is
12 high relief, adapted for use in letter-press printing; and type

groove.
the plan of the face (fig. 3) shows the stem, hair-line, serif,
counter, beard, and shoulder.
/14
high relief, adapted for use in letter-press printing; and type

groove.
ABCDEFCMJKLMNOPQRSTUVIV X YZ
.,"-:; !?""&! 234567890$
.."-:;!?'â€¢"&I234567890$
Type is defined as a right-angled, prism-shaped piece of metal, havir,
. for its (ace a letter or character, usually in high relief, adapted for use
in letter-press printing; and type in the aggregate is described as an as-
semblage of the characters used for printing. In a single type the chief
points to be described are the face, counter, stem, hair-line, serif, beard
or neck, shoulder, body or shank, pin-mark, nick, feet, and groove.
The accompanying diagram of a piece of type (fig. 2) show* its
face, body, nick, groove, feet, and pin-mark; and the plan of the face
(fig. 3) shows the stem, hair-line, serif, counter, beard, and shoulder.
The body (or shank) of a piece of type is the metal between the
shoulder and the feet (described later), and the term "body" is ilso
used to denote the size or thickness of types, leads, etc. The pin-mark
is an indentation on the upper part of the body, made by the pin is
casting. The nick is the groove across the lower part of the body of the
type, and is a guide to the position in which it is to be set up. The feet
are the projections on each side of the groove on which the type stands,
the groove being the hollow left between the feet where formerly was
the jet.
CHELTENHAM BOLD
TEXT FACES
Type is defined as a right-angled,
prism-shaped piece of metal, hav-
ing for its face a letter or character,
usually in high relief, adapted for
use in letter-press printing; and
type in the aggregate is described
as an assemblage of the characters
used for printing. In a single type
the chief points to be described are
the face, counter, stem, hair-line,
serif, beard or neck, shoulder, body
or shank, pin-mark, nick, feet, and
2/ shaped piece of metal, having for its face a
'" letter or character, usually in high relief,
adapted for use in letter-press printing;
and type in the aggregate is described as
an assemblage of the characters used for
printing. In a single type the chief points to
be described are the face, counter, stem,
hair-line, serif, beard or neck, shoulder,
body or shank, pin-mark, nick, feet, and
groove.
The accompanying diagram of a piece
of type (fig- 2) shows its face, body, nick,
groove, feet, and pin-mark; and the plan of
the chief points to be described are

/ shaped piece of metal, having for its face a
body or shank, pin-mark, nick, feet, and
of type (fig. 2) shows its face, body, nick,
groove, feet, and pin-mark ; and the plan of
Type is denned as a right-angled, prism-
1V shaped piece of metal, having for its face a

CHELTENHAM BOLD
TEXT FACES
piece of metal, having for its face a letter or
1"10 character, usually in high relief, adapted for
use in letter-press printing; and type in the ag-
gregate is described as an assemblage of the
characters used for printing. In a single type
the chief points to be described are the face,
counter, stem, hair-line, serif, beard or neck,
shoulder, body or shank, pin-mark, nick, feet,
and groove.
type (fig. 2) shows its face, body, nick, groove,
feet, and pin-mark; and the plan of the face
(fig. 3) shows the stem, hair-line, serif, coun-
ter, beard, and shoulder.
The body (or shank) of a piece of type it the
metal between the shoulder and the feet (de-
it defined a> a right-angled, prism-shaped piece of
metal, having for its face a letter or character, usually in
6/ high relief, adapted for use in letter-press printing; and
8 type in the aggregate is described as an assemblage of the
characters used for printing. In a single type the chief
points to be described are the face, counter, stem, hair-

line, serif, beard or neck, shoulder, body or shank, pin-
shows its face, body, nick, groove, feet, and pin-mark;
and the plan of the face (fig. 3) shows the stem, hair-line,
serif, counter, beard, and shoulder.
tween the shoulder and the feet (described later), and
the term "body" is also used to denote the size or thick-
ness of types, leads, etc. The pin-mark is an indentation
on the upper part of the body, made by the pin in casting.
The nick is the groove across the lower part of the body
of the type, and is a guide to the position in which it is to
be Met up. The feet are the projection* on each tide of the
groove on which the type stands, the groove being the no/-
10,-
/12
Type is denned as a right-angled, prism-shaped
piece of metal, having for its face a letter or
character, usually in high relief, adapted for
use in letter-press printing; and type in the ag-
gregate is described as an assemblage of the
characters used for printing. In a single type
the chief points to be described are the face,
counter, stem, hair-line, serif, beard or neck,
shoulder, body or shank, pin-mark, nick, feet,
and groove.
type (fig. 2) shows its face, body, nick, groove,
The body (or shank) of a piece of type is the
metal between the shoulder and the feet (de-
metal, having for its face a letter or character, usually in
10 high relief, adapted for use in letter-press printing; and
type in the aggregate is described as an assemblage of the
characters used for printing. In a single type the chief
points to be described are the face, counter, stem, hair-
line, serif, beard or neck, shoulder, body or shank, pin-
shows its face, body, nick, groove, feet, and pin-mark;
and the plan of the face (fig. 3) shows the item, hair-line,
serif, counter, beard, and shoulder.
tween the shoulder and the feet (described later), and

' DEVINNE
TEXT FACES
Ever since the sixteenth century,
elaborate diagrams have been pub-
lished to show how letters should be
drawn, as we shall learn from some
accounts given of men who suggested
new methods of designing them. Gen-
erally a diagram of minute squares
was first made, and on this the design
and dimension of each letter were
determined. Jaugeon, who was ap-
pointed by the Academic des Sciences
of Paris in the last years of the seven-
12
Ever since the sixteenth century, elaborate
diagrams have been published to show how
letters should be drawn, as we shall learn
from some accounts given of men who sug-
gested new methods of designing them.
Generally a diagram of minute squares was
first made, and on this the design and di-
mension of each letter were determined.
Jaugeon, who was appointed by the Acade-
mic des Sciences of Paris in the last years

of the seventeenth century to supply a
type should be cut, began by stating that
"the eye is the sovereign ruler of taste."
was first made, and on this the design
pointed by the Academic des Sciences
12.
diagrams have been published to show how
letters should be drawn, as we shall learn
Jaugeon, who was appointed by the Acade-
mic des Sciences of Paris in the last years
poin ted by the Academic des Sciences
2/ diagrams have been published to show how
16 letters should be drawn, as we shall learn

. DEVINNE
TEXT FACES
Ever since the sixteenth century, elaborate dia-
grams have been published to show how letters
should be drawn, as we shall learn from some
accounts given of men who suggested new
methods of designing them. Generally a dia-
gram of minute squares was first made, and on
this the design and dimension of each letter
were determined. Jaugeon, who was appointed
by the Academie des Sciences of Paris in the
last years of the seventeenth century to supply
a scheme or series of directions by which type
should be cut, began by stating that'' the eye is
he set forth were extremely complicatedâ€”
every Roman capital was to be designed on a
10.
Ever since the sixteenth century, elaborate diagrams
have been published to show how letters should be
11 drawn, as we shall learn from some accounts given of
men who suggested new methods of designing them.
Generally a diagram of minute squares was first
made, and on this the design and dimension of each
letter were determined. Jaugeon, who was appointed
by the Academie des Sciences of Paris in the last

years of the seventeenth century to supply a scheme
or series of directions by which type should be cut,
began by stating that'' the eye is the sovereign ruler
of taste." The rules which he set forth were ex-
tremely complicatedâ€”every Roman capital was to
follow them, is said to have observed sarcastically,
that he should certainly accept Jaugeon's dictum
13

last years of the seventeenth century to supply
a scheme or series of directions by which type
every Roman capital was to be designed on a
Ever since the sixteenth century, elaborate diagrams
have been published to show how letters should be
drawn, as we shall learn from some accounts given of
men who suggested new methods of designing them.
Generally a diagram of minute squares was first
made, and on this the design and dimension of each
letter were determined. Jaugeon, who was appointed
by the Academie des Sciences of Paris in the last
years of the seventeenth century to supply a scheme
or series of directions by which type should be cut,
began by stating that "the eye is the sovereign ruler
of taste." The rules which he set forth were ex-
follow them, is said to have observed sarcastically,
that he should certainly accept Jaugeon's dictum

DEVINNE
TEXT FACES
Jver sine* the sixteenth century, elaborate diagrams have
Â«m published to show how letters should be drawn, as we
hall learn from some accounts given of men who suggested
ew methods of designing them. Generally a diagram of
linute squares was first made, and on this the design and
imension of each letter were determined. Jaugeon, who
ras appointed by the Academic des Sciences of Paris in the
ist years of the seventeenth century to supply a scheme or
tries of directions by which type should be cut, began by
tating that "the eye is the sovereign ruler of taste." The
ules which he set forth were extremely complicatedâ€”every
toman capital was to be designed on a framework of 2304
ittle squares. Grandjean, the first type-cutter who at-
empted to follow them, is said to have observed sarcasti-
ally, that he should certainly accept Jaugeon's dictum that
In canting type the two schools of typography spoken of
>n an earlier pageâ€”one experimental and crude, the other
Ever since the sixteenth century, elaborate diagrams have been
published to show how letters should be drawn, as we shall
learn from some accounts given of men who suggested new
methods of designing them. Generally a diagram of minute
squares was first made, and on this the design and dimension
of each letter were determined. Jaugeon, who was appointed

by the Academic des Sciences of Paris in the last years of the
seventeenth century to supply a scheme or series of directions
by which type should be cut, began by stating that'' the eye is
the sovereign ruler of taste.'' The rules which h.e set forth were
extremely complicatedâ€”every Boman capital was to be de-
signed on a framework of 2304 little squares. Grandjean, the
first type-cutter who attempted to follow them, is said to have
observed sarcastically, that he should certainly accept Jau-
geon 'a dictum that '' the eye is the sovereign ruler of taste,''
and accepting this, should throw the rest of his rules over-
nnd perfectedâ€”hod probably different methods. One cast let-
lent in moulds of clay or sand ; the other understood something
Cver since the sixteenth century, elaborate diagrams have
>een published to show how letters should be drawn, as we

hall learn from some accounts given of men who suggested
lew methods of designing them. Generally a diagram of
uinute squares was first made, and on this the design and
limension of each letter were determined. Jaugeon, who
vas appointed by the Academic des Sciences of Paris in the
ast years of the seventeenth century to supply a scheme or
series of directions by which type should be cut, began by
stating that "the eye is the sovereign ruler of taste." The
â€¢ules which he set forth were extremely complicatedâ€”every
Roman capital was to be designed on a framework of 2304
little squares. Grandjean, the first type-cutter who at-
In casting type the two schools of typography spoken of
an an earlier pageâ€”one experimental and crude, the other
Ever since the sixteenth century, elaborate diagrams have been
published to show how letters should be drawn, as we shall
learn from some accounts given of men who suggested new
methods of designing them. Generally a diagram of minute
squares was first made, and on this the design and dimension
of each letter were determined. Jaugeon, who was appointed
by the Academic des Sciences of Paris in the last years of the
seventeenth century to supply a scheme or series of directions
by which type should be cut, began by stating that'' the eye is
the sovereign ruler of taste.'' The rules which he set forth were
extremely complicatedâ€”every Roman capital was to be de-
signed on a framework of 2304 little squares. Grandjean, the
first type-cutter who attempted to follow them, is said to have
observed sarcastically, that he should certainly accept Jau-
geon 's dictum that '' the eye is the sovereign ruler of taste,''
and perfectedâ€”had probably different methods. One cast let-
ters in moulds of clay or sand; the other understood something
Ever since the sixteenth century, elaborate diagrams have

TEXT FACES
In cutting type by hand to-day, the first
TO thing a type-cutter does in following his
design, or that supplied him, is to make a
counter-punch. This consists in cutting out
the spaces inside of certain letters, such as
O, or the upper part of an A. This counter-
punch is sunk into the end of a bar of steel,
and when this is done the inside of the
model letter is finished. The outlines of
the model letter are then cut until it as-
sumes its proper shape, numerous "smoke-
In cutting type by hand to-day, the first thing a
/u type-cutter does in following his design, or that
supplied him, is to make a counter-punch. This
consists in cutting out the spaces inside of cer-
tain letters, such as O, or the upper part of an A.
This counter-punch is sunk into the end of a bar
of steel, and when this is done the inside of the
model letter is finished. The outlines of the
model letter are then cut until it assumes its
proper shape, numerous "smoke-proofs" mean-
while having been examined to see that the let-
fer follows the form which the designer intends.
After the punch is completed, the steel is hard-

thing a type-cutter does in following his
and when this is done the inside of the
type-cutter does in following his design, or that

model letter are then cut until it assumes its
proper shape, numerous "smoke-proofs" mean-
while having been examined to see that the let-
After the punch is completed, the steel is hard-
18 thing a type-cutter does in following his
ABCDEFGH//KLMNOPQRSTC7VWX
YZ.,"-:;!?""&1234567890$i23456789o$
YZ.;'-:;.'?""&1234567890$i23456789oS
abcdefghi/klmnopqrstuvwxyz

â€¢ ELECTRA
TEXT FACES
i-onsists in cutting out the spaces inside of certain
letters, such as O, or the upper part of an A. This
:ounter-punch is sunk into the end of a bar of steel,
md when this is done the inside of the model letter
is finished. The outlines of the model letter are
then cut until it assumes its proper shape, numer-
DUS "smoke-proofs" meanwhile having been exam-
ined to see that the letter follows the form which
^he designer intends. After the punch is completed,
the steel is hardened, and it is then punched into a
bar of cold rolled copper, producing what is called
In cutting type by hand to-day, the first thing a type-
cutter does in following his design, or that supplied
11 him, is to make a counter-punch. This consists in cut-
ting out the spaces inside of certain letters, such as O,
or the upper part of an A. This counter-punch is sunk
into the end of a bar of steel, and when this is done
the inside of the model letter is finished. The outlines
of the model letter are then cut until it assumes its
proper shape, numerous "smoke-proofs" meanwhile

having been examined to see that the letter follows the
form which the designer intends. After the punch is
completed, the steel is hardened, and it is then
punched into a bar of cold rolled copper, producing
what is called a "strike!' In this state it is really an un-
finished matrix. It is then "fitted" so that it will cast
:onsists in cutting out the spaces inside of certain

DUS "smoke-proofs" meanwhile having been exam-
ined to see that the letter follows the form which
the designer intends. After the punch is completed,
In cutting type by hand to-day, the first thing a type-
io/ cutter does in following his design, or that supplied
12 him, is to make a counter-punch. This consists in cut-
ting out the spaces inside of certain letters, such as O,
or the upper part of an A. This counter-punch is sunk
into the end of a bar of steel, and when this is done
the inside of the model letter is finished. The outlines
of the model letter are then cut until it assumes its
proper shape, numerous "smoke-proofs" meanwhile
having been examined to see that the letter follows the
form which the designer intends. After the punch is
completed, the steel is hardened, and it is then
what is called a "strike!" In this state it is really an un-
finished matrix. It is then "fitted" so that it will cast
:onsists in cutting out the spaces inside of certain
the steel is hardened, and it is then punched into a
\BCDEFGHIJKLMNOPQRSTUVWXYZ
'ELECTRA
TEXT FACES
In cutting type by hand to-day, the first thing a type-cutter
9/ does in following his design, or that supplied him, is to
/"O make a counter-punch. This consists in cutting out the
spaces inside of certain letters, such as O, or the upper part
of an A. This counter-punch is sunk into the end of a bar
of steel, and when this is done the inside of the model let-
ter is finished. The outlines of the model letter are then
cut until it assumes its proper shape, numerous "smoke-
proofs" meanwhile having been examined to see that the
letter follows the form which the designer intends. After
the punch is completed, the steel is hardened, and it is
then punched into a bar of cold rolled copper, producing
what is called a "strike!" In this state it is really an unfin-
ished matrix. It is then "fitted" so that it will cast in the
proper position on its body. When this matrix is square on
its sides, holds its letter in the same position as do the mat-
rices of other letters of the new alphabet, and has the same
In cutting type by hand to-day, the first thing a type-cutter does
in following his design, or that supplied him, is to make a
counter-punch. This consists in cutting out the spaces inside of
certain letters, such as O, or the upper part of an A. This counter
punch is sunk into the end of a bar of steel, and when this is
done the inside of the model letter is finished. The outlines of

the model letter are then cut until it assumes its proper shape,
numerous "smoke-proofs" meanwhile having been examined to
see that the letter follows the form which the designer intends.
After the punch is completed, the steel is hardened, and it is
then punched into a bar of cold rolled copper, producing what
is called a "strike!' In this state it is really an unfinished matrix.
It is then "fitted" so that it will cast in the proper position on
its body. When this matrix is square on its sides, holds its letter
in the same position as do the matrices of other letters of the
new alphabet, and has the same depth throughout from the sur
face of the bar, it is finished. This is, roughly speaking, the proc-
ess by which hand-cut punches and their matrices are produced.
But all type is not cuf by hand to-day; in fact, quite the con
In cutting type by hand to-day, the first thing a type-cutter

does in following his design, or that supplied him, is to
make a counter-punch. This consists in cutting out the
spaces inside of certain letters, such as O, or the upper part
of an A. This counter-punch is sunk into the end of a bar
of steel, and when this is done the inside of the model let-
ter is finished. The outlines of the model letter are then
cut until it assumes its proper shape, numerous "smoke-
proofs" meanwhile having been examined to see that the
letter follows the form which the designer intends. After
the punch is completed, the steel is hardened, and it is
then punched into a bar of cold rolled copper, producing
what is called a "strike!" In this state it is really an unfin-
its sides, holds its letter in the same position as do the mat-
rices of other letters of the new alphabet, and has the same
In cutting type by hand to-day, the first thing a type-cutter does
g , in following his design, or that supplied him, is to make a
/10 counter-punch. This consists in cutting out the spaces inside of
certain letters, such as O, or the upper part of an A. This counter
punch is sunk into the end of a bar of steel, and when this K
done the inside of the model letter is finished. The outlines of
the model letter are then cut until it assumes its proper shape.
numerous "smoke-proofs" meanwhile having been examined to
see that the letter follows the form which the designer intends.
After the punch is completed, the steel is hardened, and it is
then punched into a bar of cold rolled copper, producing what
is called a "strike!' In this state it is really an unfinished matrix.
It is then "fitted" so that it will cast in the proper position on
its body. When this matrix is square on its sides, holds its letter
in the same position as do the matrices of other letters of the
ess by which hand-cut punches and their matrices are produced.
But all type is not cut by hand to-day; in fact, quite the con-
FAIRFIELD
TEXT FACES
Nowadays all type is cast by machine. The
ifference, however, between early hand
^pe-casting and modern mechanical type-
asting is not so great as one would suppose,
nd is nothing more than the substitution
f the movement of a machine for manual
exterity. The modern type-casting machine
as the advantage of infinitely greater pro-
uction; and as much more more care is
iken in examining the types produced and
iscarding those with imperfections, its
Nowadays all type is cast by machine. The differ-
ence, however, between early hand type-casting
and modern mechanical type-casting is not so
great as one would suppose, and is nothing more
than the substitution of the movement of a ma-
chine for manual dexterity. The modern type-cast-
ing machine has the advantage of infinitely great-
er production; and as much more care is taken in
examining the types produced and discarding
those with imperfections, its product is more uni-
form andperfect than in earlier fonts cast hy hand.
The use of hand-moulds survived for a time for

ppe-casting and modern mechanical type-
ias the advantage of infinitely greater pro-
zken in examining the types produced and

examining the types produced and discarding
those with imperfections, its product is more uni-
form and perfect than in earlier fonts cast lay hand.
ype-casting and modern mechanical type-
iken in examining the types produced and
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form and perfect than in earlier fonts cast hy hand.

â€¢FAIRFIELD
TEXT FACES
]/ ence, however, between early hand type-casting and
modern mechanical type-casting is not so great as one
would suppose, and is nothing more than the substi-
tution of the movement of a machine for manual dex-
terity. The modern type-casting machine has the ad-
vantage of infinitely greater production; and as much
more care is taken in examining the types produced
and discarding those with imperfections, its product
is more uniform and perfect than in earlier fonts cast
by hand.
casting small and special sorts, kerned letters and
script types. The modern type-casting machine is
Nowadays all type is cast by machine. The difference,
however, between early hand type-casting and modern
mechanical type-casting is not so great as one would
suppose, and is nothing more than the substitution of
the movement of a machine for manual dexterity. The
modern type-casting machine has the advantage of in
finitely greater production; and as much more care is
taken in examining the types produced and discarding
those with imperfections, its product is more uniform

and perfect than in earlier fonts cast by hand.
The use of hand-moulds survived for a time for cast-
ing small and special sorts, kemed letters and script
types. The modern type-casting machine is now, how
ever, employed in the United States for everything.
The ingredients of modern printing types are, roughly
ence, however, between early hand type-casting and

is more uniform and perfect than in earlier fonts cast
by hand.
script types. The modern type-casting machine is
however, between early hand type-casting and modem
mechanical type-casting is not so great as one would
suppose, and is nothing more than the substitution of
the movement of a machine for manual dexterity. The
modern type-casting machine has the advantage of in
finitely greater production; and as much more care is
taken in examining the types produced and discarding
those with imperfections, its product is more uniform
and perfect than in earlier fonts cast by hand.
The use of hand-moulds survived for a time for cast
ing small and special sorts, kerned letters and script
ever, employed in the United States for everything.
The ingredients of modern printing types are, rough!}
ence, however, between early hand type-casting and
script types. Tlie modern type-casting machine is

FAIRFIELD
TEXT FACES
Nowadays all type is cast by machine. The difference, how-
ver, between early hand type-casting and modern mechani
al type-casting is not so great as one would suppose, and
i nothing more than the substitution of the movement of
machine for manual dexterity. The modern type-casting
lathine has the advantage of infinitely greater production;
nd as much more care is taken in examining the types pro-
need and discarding those with imperfections, its product
. more uniform and perfect than in earlier fonts cast by
and.
The use of hand-moulds survived for a time for casting
mall and special sorts, kemed letters and script types. The
lodem type-casting machine is now, however, employed
i the United States for everything.
peaking, lead, tin, antimony, and sometimes a little copper;
kese vary in proportion, according to the size of the type fee-
Nowadays all type is cast by machine. The difference, however,
between early hand type-casting and modern mechanical type-
casting is not so great as one would suppose, and is nothing more
than the substitution of the movement of a machine for manual
dexterity. The modern type-casting machine has the advantage
of infinitely greater production; and as much more care is taken
in examining the types produced and discarding those with im-

perfections, its product is more uniform and perfect than in ear-
lier fonts cast by hand.
The use of hand-moulds survived for a time for casting small
and special sorts, kerned letters and script types. The modern
type-casting machine is now, however, employed in the United
States for everything.
The ingredients of modern printing types are, roughly speak-
ing, lead, tin, antimony, and sometimes a little copper; these vary
in proportion, according to the size of the type being cast. The
dense, ductile, and fusible at a low temperature. Lead is too soft
to be used alone; antimony is therefore introduced to give it hard-
Nowadays all type is cast by machine. The difference, how-
ver, between early hand type-casting and modern mechani-
al type-casting is not so great as one would suppose, and

> nothing more than the substitution of the movement of
machine for manual dexterity. The modern type-casting
lachine has the advantage of infinitely greater production;
nd as much more care is taken in examining the types pro-
luced and discarding those with imperfections, its product
> more uniform and perfect than in earlier fonts cast by
and.
The use of hand-moulds survived for a time for casting
mall and special sorts, kemed letters and script types. The
tiodern type-casting machine is now, however, employed
peaking, lead, tin, antimony, and sometimes a little copper;
hese vary in proportion, according to the size of the type be-
Nowadays all type is cast by machine. The difference, however,
between early hand type-casting and modern mechanical type-
casting is not so great as one would suppose, and is nothing more
than the substitution of the movement of a machine for manual
dexterity. The modern type-casting machine has the advantage
of infinitely greater production; and as much more care is taken
in examining the types produced and discarding those with im-
perfections, its product is more uniform and perfect than in ear-
lier fonts cast by hand.
The use of hand-moulds survived for a time for casting small
and special sorts, kerned letters and script types. The modern
type-casting machine is now, however, employed in the United
States for everything.
The ingredients of modern printing types are, roughly speak-
ing, lead, tin, antimony, and sometimes a h'tde copper; these vary
dense, ductile, and fusible at a low temperature. Lead is too soft
to be used alone; antimony is therefore introduced to give it hard-
type is cast by machine. The difference, how-
â€¢ver, between early hand type-casting and modern mechani-

HELVETICA
TEXT FACES
12,
Typography is closely allied to the fine
arts, and types have always reflected the
taste or feeling of their time. The charm
of the early Italian types has perhaps
never been equalled; and the like is true
of the Renaissance manuscripts on which
they were basedâ€”and of many other de-
partments of art in that same wonderful
time. Note, too, the relation of the French
manuscripts and types of a slightly later
date to the manuscripts and the types of
the Italian Renaissance.
In spite of the increasing interest in the
10,
Typography is closely allied to the fine arts, and
types have always reflected the taste or feeling
of their time. The charm of the early Italian types
has perhaps never been equalled; and the like
is true of the Renaissance manuscripts on which
they were basedâ€”and of many other departments
of art in that same wonderful time. Note, too, the
relation of the French manuscripts and types of

a slightly later date to the manuscripts and the
types of the Italian Renaissance.
In spite of the increasing interest in the history
of printing, and thQ attention paid in many quar-
ters to the work of famous typographers, a knowl-
edge of standards among the rank and file of
printers is still greatly lacking. To the average
they were basedâ€”and of many other de-

date to the manuscripts and the types of
'12
types have always reflected the taste or feeling
of their time. The charm of the early Italian types
has perhaps never been equalled; and the like
is true of the Renaissance manuscripts on which
they were basedâ€”and of many other departments
of art in that same wonderful time. Note, too, the
relation of the French manuscripts and types of
a slightly later date to the manuscripts and the
types of the Italian Renaissance.
In spite of the increasing interest in the history
edge of standards among the rank and file of
printers is still greatly lacking. To the average
they were based-and of many other de-
o/
'14 types have always reflected the taste or feeling

â€¢ HELVETICA
TEXT FACES
Typography is closely allied to the fine arts, and types
have always reflected the taste or feeling of their time.
The charm of the early Italian types has perhaps never
been equalled; and the like is true of the Renaissance
manuscripts on which they were basedâ€”and of many
other departments of art in that same wonderful time.
Note, too, the relation of the French manuscripts and
types of a slightly later date to the manuscripts and
the types of the Italian Renaissance.
In spite of the increasing interest in the history of
printing, and the attention paid in many quarters to
the work of famous typographers, a knowledge of
standards among the rank and file of printers is still
greatly lacking. To the average printer of to-day, type
;'s type, printing is printingâ€”it is all about alike; and
he concerns himself only with alleged labour-saving
Typography is closely allied to the fine arts, and types have
always reflected the taste or feeling of their time. The charm
of the early Italian types has perhaps never been equalled;
and the like is true of the Renaissance manuscripts on
which they were basedâ€”and of many other departments of
art in that same wonderful time. Note, too, the relation of the
French manuscripts and types of a slightly later date to the

manuscripts and the types of the Italian Renaissance.
In spite of the increasing interest in the history of printing,
and the attention paid in many quarters to the work of
famous typographers, a knowledge of standards among the
rank and file of printers is still greatly lacking. To the aver-
age printer of to-day, type is type, printing is printingâ€”it is
all about alike; and he concerns himself only with alleged
labour-saving contrivances, or new type-faces that ensure
convenience at the expense of proper design. In a more
advanced class is to be found the printer who, knowing
something of the historical side of printing and realizing
Typography is closely allied to the fine arts, and types

manuscripts on which they were based-and of many
other departments of art in that same wonderful time.
Note, too, the relation of the French manuscripts and
types of a slightly later date to the manuscripts and
the types of the Italian Renaissance.
In spite of the increasing interest in the history of
printing, and the attention paid in many quarters to
the work of famous typographers, a knowledge of
is type, printing is printingâ€”it is all about alike; and
he concerns himself only with alleged labour-saving
i ypography is closely allied to the fine arts, and types have
always reflected the taste or feeling of their time. The charm
of the early Italian types has perhaps never been equalled;
and the like is true of the Renaissance manuscripts on
which they were basedâ€”and of many other departments of
art in that same wonderful time. Note, too, the relation of the
French manuscripts and types of a slightly later date to the
manuscripts and the types of the Italian Renaissance.
In spite of the increasing interest in the history of printing,
and the attention paid in many quarters to the work of
famous typographers, a knowledge of standards among the
rank and file of printers is still greatly lacking. To the aver-
age printer of to-day, type is type, printing is printingâ€”it is
advanced class is to be found the printer who, knowing
something of the historical side of printing and realizing
TypographyHs closely allied to the fine arts, and types
manuscripts on which they were based-and of many

â€¢ HELVETICA
TEXT FACES
7/ always reflected the taste or feeling of their time. The charm of
/8 the early Italian types has perhaps never been equalled; and the
like is true of the Renaissance manuscripts on which they were
based-and of many other departments of art in that same won-
derful time. Note, too, the relation of the French manuscripts and
types of a slightly later date to the manuscripts and the types of
In spite of the increasing interest in the history of printing, and
the attention paid in many quarters to the work of famous typog-
raphers, a knowledge of standards among the rank and file of
printers is still greatly lacking. To the average printer of to-day,
type is type, printing is printingâ€”it is all about alike; and he con-
cerns himself only with alleged labour-saving contrivances, or
new type-faces that ensure convenience at the expense of proper
design. In a more advanced class is to be found the printer who,
knowing something of the historical side of printing and realizing
intellectually that there is a standard of excellence, yet has never
considered the question as applying in any practical way to him-
always reflected the taste or teeling of their time. The charm of
Typography is closely allied to the fine arts, and types have always
reflected the taste or feeling of their time. The charm ot the early
Italian types has perhaps never been equalled: and the like is true of
the Renaissance manuscripts on which they were based-and of many
other departments of art in thai same wonderful time. Note, too, the
relation of the French manuscripts and types of a slightly later date
to the manuscripts and the types of the Italian Renaissance.
In spite of the increasing interest in the history of printing, and the
attention paid in many quarters to the work of famous typographers
a knowledge of standards among the rank and file of printers is strl
greatly lacking. To the average printer of to-day, type is type, printing
is printing-it is all about alike; and he concerns himself only w:-
alleged labour-saving contrivances, or new type-faces that ensure
convenience at the expense of proper design. In a more advanced
class is to be found the printer who, knowing something of the his-
torical side of printing and realizing intellectually that there is a

standard of excellence, yet has never considered the question as
applying in any practical way to himself or his work.
reflected the taste or feeling of their time. The charm of the early
Italian types has perhaps never been equalled; and the like is true ol
the Renaissance manuscripts on which they were basedâ€”and of many
other departments ot art in that same wonderful time. Note, too, the
relation ot the French manuscripts and types ol a slightly later date
always reflected the taste or feeling of their time. The charm of
the early Italian types has perhaps never been equalled; and the
like is true of the Renaissance manuscripts on which they were
based-and of many other departments of art in that same won-
derful time. Note, too, the relation of the French manuscripts and
types of a slightly later date to the manuscripts and the types of
In spite of the increasing interest in the history of printing, and
the attention paid in many quarters to the work of famous typog-
raphers, a knowledge of standards among the rank and file of
printers is still greatly lacking. To the average printer of to-day,
type is type, printing is printingâ€”it is all about alike; and he con-
cerns himself only with alleged labour-saving contrivances, or
new type-faces that ensure convenience at the expense of proper
always reflected the taste or feeling ol their time. The charm ot
6.. reflected the taste or feeling of their time. The charm of the early
a Italian types has perhaps never been equalled; and the like is true of
the Renaissance manuscripts on which they were basedâ€”and of many
other departments of art in that same wonderful time. Note, too, the
relation of the French manuscripts and types of a slightly later date

â€¢ JANSON
TEXT FACES
Whence are derived the shapes of the
characters in which you read the sentence
before you; and whence comes the type
in which this sentence is printed? The type
of this book is a font transitional between
the "old style" types of the school of Cas-
lon and the English equivalent of the
pseudo-classic types made at the begin-
ning of the nineteenth century under the
influence of Didot of Paris, Bodoni of
Parma, and Unger of Berlin. These pseu-
Whence are derived the shapes of the charac-
ters in which you read the sentence before you;
and whence comes the type in which this sen-
tence is printed? The type of this book is a font
transitional between the "old style" types of
the school of Caslon and the English equivalent
of the pseudo-classic types made at the begin-
ning of the nineteenth century under the in-
fluence of Didot of Paris, Bodoni of Parma, and
Unger of Berlin. These pseudo-classic types
were modifications of that old style type (as
we should now call it) which was in use in

England and throughout Europe in the middle
pseudo-classic types made at the begin-
influence of Didot of Paris, Bodoni of

fluence of Didot of Paris, Bodoni of Parma, and
Unger of Berlin. These pseudo-classic types
influence of Didot of Paris, Bodo?ri of
16
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â€¢JANSON
TEXT FACES
Whence are derived the shapes of the characters
in which you read the sentence before you; and
whence comes the type in which this sentence is
printed? The type of this book is a font transi-
tional between the "old style" types of the school
of Caslon and the English equivalent of the pesu-
do-classic types made at the beginning of the nine-
teenth century under the influence of Didot of
Paris, Bodoni of Parma, and Unger of Berlin.
These pseudo-classic types were modifications of
that old style type (as we should now call it)
which was in use in England and throughout Eu-
rope in the -middle of the eighteenth century. The
English old style types of the seventeenth and
10,
Whence are derived the shapes of the characters in
which you read the sentence before you; and whence
comes the type in which this sentence is printed? The
type of this book is a font transitional between the
"old style" types of the school of Caslon and the
English equivalent of the pseudo-classic types made
at the beginning of the nineteenth century under
the influence of Didot of Paris, Bodoni of Parma, and

Unger of Berlin. These pseudo-classic types were
modifications of that old style type (as we should
now call it) which was in use in England and
throughout Europe in the middle of the eighteenth
century. The English old style types of the seven-
teenth and eighteenth centuries were chiefly derived
from Dutch models of the middle of the seventeenth
Whence are derived the shapes of the characters
13 in which you read the sentence before you; and

These pseudo-classic types were modifications of
that old style type (as we should now call it)
rope in the middle of the eighteenth century. The
English old style types of the seventeenth and
Whence are derived the shapes of the characters in
/\i which vou read the sentence before you; and whence
**
comes the type in which this sentence is printed? The
type of this book is a font transitional between the
"old style" types of the school of Caslon and the
English equivalent of the pseudo-classic types made
at the beginning of the nineteenth century under
the influence of Didot of Paris, Bodoni of Parma, and
Unger of Berlin. These pseudo-classic types were
modifications of that old style type (as we should
now call it) which was in use in England and
throughout Europe in the middle of the eighteenth
teenth and eighteenth centuries were chiefly derived
from Dutch models of the middle of the seventeenth
n , Whence are derived the shapes of the characters
15 in which you read the sentence before you; and
rope in the middle of the eighteenth century. The

'JANSON
TEXT FACES
Whence are derived the shapes of the characters in which
/ you read the sentence before you; and whence comes the
0 type in which this sentence is printed? The type of this
book is a font transitional between the "old style" types
of the school of Caslon and the English equivalent of the
pseudo-classic types made at the beginning of the nine-
teenth century under the influence of Didot of Paris, Bo-
doni of Parma, and Unger of Berlin. These pseudo-classic
types were modifications of that old style type (as we
should now call it) which was in use in England and
throughout Europe in the middle of the eighteenth cen-
tury. The English old style types of the seventeenth and
eighteenth centuries were chiefly derived from Dutch
models of the middle of the seventeenth century; and
these seventeenth century types in turn were modelled on
earlier rowan types common in Europe which were in-
troduced into Italy at the time of the Renaissance. Any
Whence are derived the shapes of the characters in which you
read the sentence before you; and whence comes the type in
which this sentence is printed? The type of this book is a font
transitional between the "old style" types of the school of Cas-
lon and the English equivalent of the pseudo-classic types
made at the beginning of the nineteenth century under the in-

fluence of Didot of Paris, Bodoni of Parma, and Unger of Ber-
lin. These pseudo-classic types were modifications of that old
style type (as we should now call it) which was in use in Eng-
land and throughout Europe in the middle of the eighteenth
century. The English old style types of the seventeenth and
eighteenth centuries were chiefly derived from Dutch models
of the middle of the seventeenth century; and these seven-
teenth century types in turn were modelled on earlier roman
tvpes common in Europe which were introduced into Italy at
the time of the Renaissance. Any one familiar with the earliest
printing will note that many of the early types were black-let-
ter characters derived from manuscripts, and at first sight it is
a little perplexing to know where Roman characters come
Whence are derived the shapes of the characters in which

you read the sentence before you; and whence comes the
type in which this sentence is printed? The type of this
book is a font transitional between the "old style" types
of the school of Caslon and the English equivalent of the
pseudo-classic types made at the beginning of the nine-
teenth century under the influence of Didot of Paris, Bo-
doni of Parma, and Unger of Berlin. These pseudo-classic
types were modifications of that old style type (as we
should now call it) which was in use in England and
throughout Europe in the middle of the eighteenth cen-
tury. The English old style types of the seventeenth and
eighteenth centuries were chiefly derived from Dutch
earlier roman types common in Europe which were in-
troduced into Italy at the time of the Renaissance. Any
10
Whence are derived the shapes of the characters in which you
read the sentence before you; and whence comes the type in
which this sentence is printed? The type of this book is a font
transitional between the "old style" types of the school of Cas-
lon and the English equivalent of the pseudo-classic types
made at the beginning of the nineteenth century under the in-
fluence of Didot of Paris, Bodoni of Parma, and Unger of Ber-
lin. These pseudo-classic types were modifications of that old
style type (as we should now call it) which was in use in Eng-
land and throughout Europe in the middle of the eighteenth
century. The English old style types of the seventeenth and
eighteenth centuries were chiefly derived from Dutch models
of the middle of the seventeenth century; and these seven-
teenth century types in turn were modelled on earlier roman
tvpes common in Europe which were introduced into Italy at
ter characters derived from manuscripts, and at first sight it is

'SCOTCH 2
TEXT FACES
'13
The Greek alphabet had a close relation to the
Phoenician, or (as perhaps it is more properly
called) the Semitic alphabet. In the first place,
the forms were in many cases very much alike.
The word "alphabet" which gives a clue to the
connection, is derived from alpha and beta,
the names of the first and second letters of the
Greek alphabet. "The names of the Semitic
letters" Sir Edward Maunde Thompson tells
us, "are Semitic words, each describing the
letter from its resemblance to some particular
object, as, aleph, an ox, beth, a house. When
the Greeks took over their Semitic letters,
% Phoenician, or (as perhaps it is more properly
called) the Semitic alphabet. In the first place, the
forms were in many cases very much alike. The
word "alphabet" which gives a clue to the connec-
tion, is derived from alpha and beta, the names of
the first and second letters of the Greek alphabet.
"The names of the Semitic letters" Sir Edward
Maunde Thompson tells us, "are Semitic words,

each describing the letter from its resemblance to
some particular object, as, aleph, an ox, beth, a
house. When the Greeks took over their Semitic
letters, they also took over their Semitic names"
Both the names of the letters and their order in
The word "alphabet)' which gives a clue to the
letters)' Sir Edward Maunde Thompson tells

us, "are Semitic words, each describing the
word "alphabet" which gives a clue to the connec-
tion, is derived from alpha and beta, the names of
the first and second letters of the Greek alphabet.
"The names of the Semitic letters" Sir Edward
Maunde Thompson tells us, "are Semitic words,
each describing the letter from its resemblance to
some particular object, as, aleph, an ox, beth, a
letters, they also took over their Semitic names"
Both the names of the letters and their order in
2/
î6 Phoenician, or (as perhaps it is more properly
The word "alphabet" which gives a clue to the
/^ Phoenician, or (as perhaps it is more properly

SCOTCH ?
TEXT FACES
The Greek alphabet had a close relation to the Phoe-
lician, or (as perhaps it is more properly called) the
Semitic alphabet. In the first place, the forms were in
nany cases very much alike. The word "alphabet!"
vhich gives a clue to the connection, is derived from
ilpha and beta, the names of the first and second let-
ers of the Greek alphabet. "The names of the Semitic
etters!' Sir Edward Maunde Thompson tells us, "are
Semitic words, each describing the letter from its re-
semblance to some particular object, as, aleph, an ox,
>eth, a house. When the Greeks took over their Semit-
c letters, they also took over their Semitic names"
Both the names of the letters and their order in the
'wo alphabets are the same. This alphabet was em-
oloyed by the Phoenicians, by the Jews, and by the
The Greek alphabet had a close relation to the Phoenician, or (as
perhaps it is more properly called) the Semitic alphabet. In the
first place, the forms were in many cases very much alike. The
word "alphabet)' which gives a clue to the connection, is derived
from alpha and beta, the names of the first and second letters of
the Greek alphabet. "The names of the Semitic letters" Sir Edward
Maunde Thompson tells us, "are Semitic words, each describing
the letter from its resemblance to some particular object, as. aleph.
an ox, beth. a house. When the Greeks took over their Semitic let-
ters, they also took over their Semitic names!' Both the names of
the letters and their order in the two alphabets are the same. This
alphabet was employed by the Phoenicians, by the Jews, and by
the Moabites, and from early inscriptions, the primitive Phoenician
alphabet, consisting of twenty-two letters, can be made up.
The Greeks learned the art of writing in the ninth century B.C..â€”
perhaps earlier. The primitive Greek alphabet was generally known
as the Cadmean alphabet, and it had many varieties. The alpha-
bets first in use were written from right to left; then the boustro-
phedon method of writing came into vogue, in which the lines ran
alternately from right to left and jrom left to right, like the furrowt
of a plough; and finally writing all ran jrom lejt to right at it doei
The Greek alphabet had a close relation to the Phce-

lician, or (as perhaps it is more properly called) the
Semitic alphabet. In the first place, the forms were in
nany cases very much alike. The word "alphabet"
ivhich gives a clue to the connection, is derived from
111 iha and beta, the names of the first and second let-
:ers of the Greek alphabet. "The names of the Semitic
letters!' Sir Edward Maunde Thompson tells us, "are
Semitic words, each describing the letter from its re-
semblance to some particular object, as, aleph, an ox,
aeth, a house. When the Greeks took over their Semit-
ic letters, they also took over their Semitic names."
two alphabets are the same. This alphabet was em-
ployed by the Phoenicians, by the Jews, and by the
The Greek alphabet had a close relation to the Phoenician, or (as
perhaps it is more properly called) the Semitic alphabet. In the
first place, the forms were in many cases very much alike. The
word "alphabet!' which gives a clue to the connection, is derived
from alpha and beta, the names of the first and second letters of
the Greek alphabet. "The names of the Semitic letters)' Sir Edward
Maunde Thompson tells us, "are Semitic words, each describing
the letter from its resemblance to some particular object, as. aleph,
an ox, beth, a house. When the Greeks took over their Semitic let-
ters, they also took over their Semitic names!' Both the names of
the letters and their order in the two alphabets are the same. This
alphabet was employed by the Phoenicians, by the Jews, and by
the Moabites, and from early inscriptions, the primitive Phoenician
alphabet, consisting of twenty-two letters, can be made up.
The Greeks learned the art of writing in the ninth century B.C.â€”
alternately from right to left and from left to right, like the furrowt
of a plough; and finally writing all ran from left to right at it doet
The Greek alphabet had a close relation to the Phoe-

TRADE GOTHIC LIGHT
TEXT FACES
GIAMBATTISTA BODONI, "TO THE
READER," 1818. This essay is the fruit
of many years' assiduous labourâ€”a
real labour of loveâ€”in the service of
the art of printing. Printing is the final
outcome of man's most beautiful, in-
genious and useful invention: that I
mean, of writing: and its most valuable
form where it is required to turn out
many copies of the same text. This
applies still more where it is important
to ensure uniformity, and most of all
GIAMBATTISTA BODONI, "TO THE READ-
ER," 1818. This essay is the fruit of many
years' assiduous labourâ€”a real labour of love
â€”in the service of the art of printing. Print-
ing is the final outcome of man's most beau-
tiful, ingenious and useful invention: that I
mean, of writing: and its most valuable form
where it is required to turn out many copies
of the same text. This applies still more
where it is important to ensure uniformity,
and most of all where the work in question is

one which deserves transmission in clearer
and more readable form for the enjoyment of
of posterity. When we consider the range of
<e READER," 1818. This essay is the fruit
form where it is required to turn out

ER," 1818. This essay is the fruit of many
years' assiduous labourâ€”a real labour of love
â€”in the service of the art of printing. Print-
ing is the final outcome of man's most beau-
tiful, ingenious and useful invention: that I
mean, of writing: and its most valuable form
where it is required to turn out many copies
of the same text. This applies still more
where it is important to ensure uniformity,
and more readable form for the enjoyment of
of posterity. When we consider the range of
14
8 READER," 1818. This essay is the fruit
.,"-:;!?""&1234567890$
.,"-:;!?""&1234567890$
12

TEXT FACES
TRADE GOTHIC LIGHT
3IAMBATTISTA BODONI, "TO THE READER," 1818.
Fhis essay is the fruit of many years' assiduous
labourâ€”a real labour of loveâ€”in the service of the
art of printing. Printing isthe final outcome of man's
nost beautiful, ingenious and useful invention: that
mean, of writing: and its most valuable form where
t is required to turn out many copies of the same
:ext. This applies still more where it is important to
;nsure uniformity, and most of all where the work
n question is one which deserves transmission in
:learer and more readable form for the enjoyment
)f posterity. When we consider the range of use-
ulness of printing, together with the long series of
Jevices which have brought us from the first dis-
:overy of letters to our present power of printing on
housands of sheets of fine laid paper words no
GIAMBATTISTA BODONI, "TO THE READER," 1818. This
essay is the fruit of many years' assiduous labourâ€”a real
labour of loveâ€”in the service of the art of printing. Printing
is the final outcome of man's most beautiful, ingenious and
useful invention: that I mean, of writing: and its most valu-
able form where it is required to turn out many copies of the
same text. This applies still more where it is important to

ensure uniformity, and most of all where the work in ques-
tion is one which deserves transmission in clearer and more
readable form for the enjoyment of posterity. When we con-
sider the range of usefulness of printing, together with the
long series of devices which have brought us from the first
discovery of letters to our present power of printing on thou-
sands of sheets of fine laid paper words no longer evanes-
cent but fixed and preserved with sharper outlines than the
articulation of lips can give them, the thought of such sur-
passing achievement compels admiration at the force of the
human intellect. But it would be superfluous to enlarge on
the merits of an invention which has already been the sub-
ject of many elaborate treatises and of much eloquent
2IAMBATTISTA BODONI, "TOTHE READER," 1818.

Phis essay is the fruit of many years' assiduous
abourâ€”a real labour of loveâ€”in the service of the
art of printing. Printing isthe final outcome of man's
nost beautiful, ingenious and useful invention: that
mean, of writing: and its most valuable form where
t is required to turn out many copies of the same
:ext. This applies still more where it is important to
;nsure uniformity, and most of all where the work
n question is one which deserves transmission in
;learer and more readable form for the enjoyment
)f posterity. When we consider the range of use-
:overy of letters to our present power of printing on
'housands of sheets of fine laid paper words no
GIAMBATTISTA BODONI, "TO THE READER," 1818. This
essay is the fruit of many years' assiduous labourâ€”a real
labour of loveâ€”in the service of the art of printing. Printing
is the final outcome of man's most beautiful, ingenious and
useful invention: that I mean, of writing: and its most valu-
able form where it is required to turn out many copies of the
same text. This applies still more where it is important to
ensure uniformity, and most of all where the work in ques-
tion is one which deserves transmission in clearer and more
readable form for the enjoyment of posterity. When we con-
sider the range of usefulness of printing, together with the
long series of devices which have brought us from the first
discovery of letters to our present power of printing on thou-
sands of sheets of fine laid paper words no longer evanes-
cent but fixed and preserved with sharper outlines than the
the merits of an invention which has already been the sub-
ject of many elaborate treatises and of much eloquent
3IAMBATTISTA BODONI, "TO THE READER," 1818.

â€¢AURORA DISPLAY FACES
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&adcdeig
hijklmnopqrstuvwxyz
1234567890$.;-:;!?
48 POINT AURORA BOLD CONDENSED, AMSTERDAM CONTINENTAL
wxYZ&abcdefghiikimnopqrst
uvwxyzi234567890$.,'-:;!?
ABCDEFGHIJKLMNOPQRSTUVWXYZftab
cdefghijkimnopqretuvwxyzi2345678
90$.;-:;!?
ABCDEFGHIJKLMHOPQRSTUVWXYZ&abCdef
gnilklmnopqrstuvwxyzi234567890$.;-:;!?
24 POINT AURORA BOLD CONDENSED. AMSTERDAM CONTINENTAL
ABCDEFGHlJKLMNOPQRSTUVWXYZSabcflelghiiklmnopqrstuvw
xyzi234567890$..'-::i?
â€¢Aurora Bold Condensed is a re-cut of Anzeigen-Grotesk in sizes from 60 point down to 14 point. Sizes above or below these are called Anieigen-Grotesk
254
JRORA
DISPLAY FACES
BCDEFGHIJKLMNOPQRSTUVWXYZ&abCdefghijklmnOPQrstUVWNyz12345
7890$..-:;!?
POINT AURORA BOLD CONDENSED, AMSTERDAM CONTINENTAL
I POINT AURORA CONDENSED, AMSTERDAM CONTINENTAL
i POINT AURORA CONDENSED, AMSTERDAM CONTINENTAL
6 POINT AURORA CONDENSED, AMSTERDAM CONTINENTAL
mxyzl234567890$.;-:;!?
Aurora Condensed is a re*cut of Inserat Grotesk in sizes from 60 point down to 14 point. Sizes above or below these are called Inserat Grotesk.
% POINT AURORA CONDENSED, AMSTERDAM CONTINENTAL

CHELTENHAM D|SpLAY FACES
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
&abcdefghijklmnopqrstuv
wxyz 1234567890$
'â€¢â€¢D
9 â€¢>
48 POINT CHELTENHAM OLDSTYLE, LUDLOW
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
&abcdefghijklmnopqrstu
vwzyz 1234567890$
48 POINT CHELTENHAM OLDSTYLE ITALIC, LUDLOW
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&abcdefghijklmnopqrs
tuvwxyz 1234567890$.,-':;!?
256
CHELTENHAM DISPLAY FACES
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&abcdefghijklmnop
qrstuvwxyz 1234567890$.,-':;!?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&ab
cdefghijklmnopqrstuvwxyz 1234567890$.,-':,!?
abcdefghijklmnopqrstutiwxyz 1234567890$., -':;!?
YZ&abcdefghijklmnopqrstuvwxyz 1234
567890$,-':;!?
36 POINT CHELTENHAM OLDSTYLE CONDENSED, LUDLOW
nopqrstuvwxyz 1234567890$.,-':;!?
24 POINT CHELTENHAM OLDSTYLE CONDENSED, LUDLOW

YZ&abcdef ghi jklmnopqrstuvwxyz 123
4567890$.,-':;!?
36 POINT CHELTENHAM BOLD CONDENSED, LUDLOW
xyzl234567890$.,-':;!?
36 POINT CHELTENHAM BOLD CONDENSED ITALIC, LUDLOW
mnopqrstuvwxyzl234567890$.,-':;!?
24 POINT CHELTENHAM BOLD CONDENSED, LUDLOW
jklmnopqrstuvwxyzl234567890$., -':;!?
24 POINT CHELTENHAM BOLD CONDENSED ITALIC, LUDLOW
def ghi jklmnopqrstuvwxyz 1234567890$
â€¢9 â€¢>â€¢â€¢
36 POINT CHELTENHAM BOLD EXTRA CONDENSED, LUDLOW
wxyzl234567890$.,-':;!?
24 POINT CHELTENHAM BOLD EXTRA CONDENSED, LUDLOW

ABCDEFGHIJKLMN
OPQRSTUVWXYZ&a
bcdef ghi j klmnopqr st
uvwxyz 1234567890
â€¢9 â€¢*â€¢â€¢
36 POINT CHELTENHAM BOLD EXTENDED, LUDLOW
vwxyzl 234567890$.,-':;!?
24 POINT CHELTENHAM BOLD EXTENDED, LUDLOW
ABCDEFGHIJKLMNOPQRS
opqrstuvwxyz 1234567890$
â€¢9 â€¢>
â€¢ â€¢
36 POINT CHELTENHAM WIOE, LUDLOW
bcdefghijklmnopqrstuvwxyz 1234567890$
24 POINT CHELTENHAM WIDE, LUDLOW

CHELTENHAM
DISPLAY FACES
Â£
B:
I In
n)
CDEF
UVW
HDJJEC.L
cd
K n9OoW
vy/QJU/oo oooo
YZ&albxedldFffMS
syzl284i
^pCQ^
Â©tffi
>9 Â°9(
36 POINT CHELTENHAM BOLD OUTLINE, LUDLOW
ABCDEFGHEcJJKLMMOPQESTOVWXY
albxsdfefpglhii jHmini(s>pqiff8tavwxyz 123456789
OJ)a opoo
24 POINT CHELTENHAM BOLD OUTLINE, LUDLOW
cvcwxcyz
48 POINT CHELTENHAM CURSIVE, LUDLOW

260
CHISEL
DISPLAY FACES
ABCDEFG
IJ
cdefgh
ijklninopqrstoÂ¥
60 POINT CHISEL, STEPHENSON BLAKE
frg<f I Â£ 17C f i y ,T r-L .Â» :: r: -1711
Stela of the lady Ta-Byet-Mut.
Egyptian twenty-second dynasty.
v!*Tji--:i;rr.J:':-r;:KT::<tfrf
i"li ir laiBii ii iPBKJ^Lj<pm i iC
261
i
u
99
13 0
UK
jhijklmni
9 Â®
lopqrstnv
DK6$
CHISEL
PORSTUYWXYZta
Â¥ili2848i?8fi
IBCBEFGHIIKLMI
â€¢J =OfHÂ®
DISPLAY FACES

ABC
Â®9
Â®9
CHISEL
DISPLAY FACES
<Â§>Â«>Â© Â®
3& Â®Â®^^>^^S>9
48 POINT CHISEL EXPANDED, STEPHENSON BLAKE

CHISEL
DISPLAY FACES
^BCBEFGHU
KIG
DS>./0> IDS
s?
^dfara
<s> Â©
iS30' Â® a =" <s> m Â® <s>
^ ^ J1L ik^ Â«&dÂ£<*=dk 40> <SO>' ^ ^ S^P
CITY
ABCDEFGHIJKLMNQPQRSTUVWXYZ&
abcdefghijklmnDpqrstuvwxyzl2345B7
89DSB.;-:;!?"
30 POINT CITY LIGHT, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNaPORSTUVWXYZ&abcdelghijklmn
opqrstuvwxyzl2345678901.;-:,!?"
k 264
CITY DISPLAY FACES
ABCDEFGHIJKLMNDP0RSTUVWXYZ&abcdefghijklmnopqrstuvwxyzl2345B78903l
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcde
f ghi j klmnop qrstuvwxy
zl2345B7890$.;-:;!?
Â« POINT CITY MEDIUM, AMSTERDAM CONTINENTAL
lmnopqrstuvwxyzl2345B7890$., -:,!?"
24 POINT CITY MEDIUM, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMN0P0RSTUVWXYZ&abcdefghijklmnopqrstuvwxyzl2345B78
90$.;--!?'
'â€¢I â€¢/â€¢
12 POINT CITY MEDIUM, AMSTERDAM CONTINENTAL

CITY DISPLAY FACES
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&a
bcdefghijklmnopqrst
uvwxyz1234567890
48 POINT CITY BOLD, AMSTERDAM CONTINENTAL
hijklmnopqrstuvwxyzl234567890S. :.?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdEfghijklmnopqrstuvwxyzl234
567890$. :i?

CLARENDON (HAAS) DISPLAY FACES
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefgh
ij klmnopqrstuvw
xyzfifffll2345678
90$.,"-:;!?""
6 POINT CLARENDON (HAAS), AMSTERDAM CONTINENTAL
ABCDEPGHIJKLMN
OPQRSTUVWXYZ&a
bcdefghijklmnopqrstu
tnvxyzfifll23456789O
POINT CLARENDON (HAAS), AMSTERDAM CONTINENTAL
^BCDEFGHIJKLMNOPQRS
rUVWXYZ&abcdefghijklm
opqrstuvwxy zfiflia 345678
fÂ»OINT CLARENDON (HAAS), AMSTERDAM CONTINENTAL

WXYZ&abcdefghij klmnopqrstuv
wxyzflflia3456789O$.,"-:;!?""
nopqrstuvwxyzfiflia3456789O$.>><-:;!?""
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzflfl
1234567890$.,"-:;!?""
ABCDEFGHIJK
LMNOPQRSTU
VWXYZ&abcdef
ghij klmnopqr st
uvivxyzfifl.12345
67890$.,'*-:;!?""
48 POINT CLARENDON BOLD (HAAS), AMSTERDAM CONTINENTAL
268
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&a
bcdefghijklmnopqrst
uvwxyzfifll23456789
0$.,"-:;!?""
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghijk
lmnopqrstu vwxyzfifll2 3 4 5
67890$./'-:;!?
>*nÂ«
uvwxyzfifll234567890S.,'Â«-:;!?""
ABCDEFGHIJKLMNOPaRSTUVWXYZ&abcdefghijkl
nmOTOTi^nvgggyrfflia3456TO90$^^
IMM
ABCDEFGHIJKLMNOPaRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzfifl
123456789Q$.,"-:;t?w"

COLUMBIA DISPLAY FACES
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&abc
zfiffflffiffll234567890$
48 COLUMBIA, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRS
qrstuvwxyzfiffflffiffll234567890$
â€¢5 "â€¢Â»â€¢ â€¢
cdefghijklmnopqrstuvwxyzfiffflffiffll234567890$
â€¢5 â€¢Â»â€¢â€¢
Â»5Â«<
270
COLUMBIA DISPLAY FACES
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&ab
cdefghijklmnopqrstuvw
xyzfiflffffiffll234567890
Â« fOMÂ«Â«
VÂ«5 â€¢?â€¢ â€¢
48 POINT COLUMBIA BOLD, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRS
90$.*-:;!?""
36 POINT COLUMBIA BOLD, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZS'
890$.,"-:;!?""
24 POINT (large) COLUMBIA BOLD, AMSTERDAM CONTINENTAL

CONDENSED GOTHIC OUTLINE
DISPLAY FACES
Fl
Ul
Jl
(W
[GSM
DO
n DGD D
48 POINT CONDENSED GOTHIC OUTLINE 6-CO-LUDLOW
(^ (01
(O,
'DO
jWfyfi
;yj%w)//(o'
D'?
CONSORT
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdefg
hij klmnopqr stu v wxy zfiiffl
ffiffll234567890$./<-:;!??>
36 POINT CONSORT, STEPHENSON BLAKE
ABCDEFGHIJKLMNOPGIIISTUVWX
YZÂ«Scabcdefghijklmnopqrstuvwxyzfiff'fl.
fflffll834567890$.,'t-:;I?'
272
CONSORT DISPLAY FACES
wxyzflffaffiffll234567890$.,"-:;!?""
ABODEFGHIJKLMNOPQRS
TUVWX YZ&abcdefglrLj klmn
opqrstuvwxyzfiffflfliffl 12 345
67890$.,"-:;!?""
30 POINT CONSORT LIGHT, STEPHENSON BLAKE
ABCDEFGHIJKLMNOPQRSTTTVWX
YZ&abcdefgliij klm.nopqrstuvwxyzfl.ff
flffiffll234567890$.;t-:;!P,"t
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefgtajklmnopqrst
uvwxyzfiffflfflffil234567890$.,n-:;!?,,tt __
X YZ&abcdefghij klmnopqrstu v wxy
zfiffflffiffll234567890$.,"-:;!?""
36 POINT CONSORT CONDENSED, STEPHENSON BLAKE
ABCDEFGHIJKLMNOPaRSTUVWXYZ&abcdefghijk
lmnopqrstuvwxyzflffflfflffll234567890$.,"-:;!?""
ABCDEFGHIJKLMNOPaRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzflfifflfflffll234567
890$.,"-:;!?""
07T
DIDOT DISPLAY FACES
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghij klmnopqrstu
vwxyz
54 POINT DIDOT, AMSTERDAM CONTINENTAL
ABGDEFGHIJKLMNOPQRST
U Y WX YZ&abcdefghij klmnop
qrstuvwxyzfiffilftl234567890$
ABGDEFGHIJKLMNOPQRSTUVW
XYZ&abcdefghijklmnopqrstuvwxyzfifF
flai234567890$./'-:;!r"
30 POINT (large) DIDOT, AMSTERDAM CONTINENTAL

3ID0T DISPLAY FACES
WXYZSfabcdefghijklmriopqrstiivwxyz
1234567890$.,''-:;/?""
30 POINT (large) DIDOT ITALIC, AMSTERDAM CONTINENTAL
jklmnopqrstuvwxyzfiffflftl234567890$.,''-:;!?""
ABCDEFGHUKLMNOPQRSTUVWX YZâbcd
efghijklmnopqrstuvwxyzf234567890$.,''-:;!?''"
34 POINT DIDOT ITALIC, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZiSLabcdefghijklmnopqrstuv
wxyzfiffflai234567890$.,,<-:;!?""
IB POINT (lÂ»rge) DIDOT, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopq
rstuvivxyz/234567890$.,''-:;/?""
1S POINT (large) DIDOT ITALIC, AMSTERDAM CONTINENTAL

276
EGYPTIAN
DISPLAY FfCES
24 POINT EGYPTIAN EXPANDED, STEPHENSON BLAKE

18 POINT EGYPTIAN EXPANDED. STEPHENSON BLAKE

l23
-g -9* r
'-â€¢â€¢I?
(jr.U.-l.Â«J JUL.JLM.OKI..AI

Â« POINT EGYPTIAN EXPANDED OPEN, STEPHENSON BLAKE

278
EGYPTIAN
DISPLAY FACES
POINT EGYPTIAN EXPANDED OPEN, STEPHENSON BLAKE
24 POINT EGYPTIAN EXPANDED OPEN, STEPHENSON BLAKE

LNGRAVERS DISPLAY FACES
ABCDEFGHIJ
KLMNOPQRS
TUVWXYZ&1S
3456T89OS.,"-
POINT ENGRAVERS BOLD, ATF
ABCDEFGHIJKLMJVO
24 POINT ENGRAVERS BOLD, ATF
ABCDEFGHIJKLMNOPQRSTUVWXYZ&123456T89
12 POINT NO. 2 ENGRAVERS BOLD, ATF
iUROSTILE
IJKL
n POINT EUROSTILE BOLD EXTENDED 415-22, AMSTERDAM CONTINENTAL
279
MN
UV
280
pqrstuv
abcdefg
hijklmno
J( Â»
WXVZ
1 â€¢!
EUROSTILE
DISPLAY FACES
72 POINT EUROSTILE BOLD EXTENDED 415-22, AMSTERDAM CONTINENTAL

EUROSTILE DISPLAY FACES
ABCDEFGHI
JKLMIMOPQ
RSTUVWXV
Z&abcdefghij
Â«M^ m
klmnopqrstu
\i wxy z12345
if Â»
B POINT EUROSTILE BOLD EXTENDED 415-22, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMIMOP
sfghijklmnopqrstuvwxy
POINT EUROSTILE BOLD EXTENDED 415-22, AMSTERDAM CONTINENTAL
\BCDEFGHIJKLMNOPQRSTUVWXYZ
iabcdefghijklmnopqrstuv\A/xyz12345B
tBCDEFGHIJKLMIMOPQRSTUVWXYZGiabcdefghij
Jmnopqrstuvwxyzl a 3*1SB 789085.,"-;;!?""

EUROSTILE DISPLAY FACES
ABODE FGHLT
KLMNOPQRS
TUVWXYZ&
abcdefghijklmn
opqnstuvwxy
12345B7SSO
48 POINT EUROSTILE EXTENDED 415-12, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdef
ghijklmnopqrstuvwxyz12
ABCDEFGHIJKLMNOPQRSTUVWXYZSL
abcdefghijklmnopqrst;uvwxyz123456~7B
pqpstuvwxyz1234567SgOg.."-:;!?""
282
txiN<i)i
ut A^ûo
V pc f \vijnvu-:
early tenth century.

and other texts, in Greek,

Dioscondes De Materia Medica"
ij- 'i*iÂ« /to* LnxiTUO â€¢â€¢> uaJTOU

FOLIO
DISPLAY FACES
ABCDEFGHIJK
LMNOPQRRST
UVWXYZ&abc
defghijklmnopqr
stuvwxyz12345
67890$.,'-:;!?""
66 POINT FOLIO MEDIUM, BAUER
ABCDEFGHIJKLM
NOPQRRSTUVWX
YZ&abcdefghijklmn
opqrstuvwxyz12345
67890$.,'-::!?""

=OLIO DISPLAY FACES
ABCDEFGHIJKLMNOPQRRSTU
VWXYZ&abcdefghijklmnopqrstu
vwxyz1234567890$.,'-:;!?""
ABCDEFGHIJKLMNOPQRRSTUVWXYZ&abc
defghijklmnopqrstuvwxyz1234567890$.,'-:;!?""
24 POINT FOLIO MEDIUM. BAUER
ABCDEFGHIJKLM
NOPQRRSTUVWX
YZ&abcdefghijklmno
pqrstuvwxyz1234567
890$.,'-:;!?
M POINT FOLIO LIGHT, BAUER

FOLIO DISPLAY FACES
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
&abcdefghijklmnopq
rstuvwxyz12345678
90$.,'-:/?
54 POINT FOLIO LIGHT ITALIC, BAUER
ABCDEFGHIJKLMNOPQRRSTU
wxyz1234567890$.,'-:;!?
36 POINT FOLIO LIGHT, BAUER
WXYZ&abcdefghijklmnopqrstu v
wxyz1234567890$.,'-:;!?
ABCDEFGHIJKLMNOPQRRSTUVWXYZ&abc
defghijklmnopqrstuvwxyz1234567890$.,'-:;!?
24 POINT FOLIO LIGHT, BAUER
efghijklmnopqrstuvwxyz1234567890$.,'-:;l?
286
287
mnopqrstuvw
xyz1234567
&abcdefghijkl
KLMNOPQR
RSTUVWXYZ
ABCDEFGHIJ
890$.1-m!?11"
FOUO DISPLAY FACES
66 POINT FOLIO BOLD, BAUER

FOLIO DISPLAY FACES
ABCDEFGHIJKL
MNOPQRRSTUV
WXYZ&abcdefgh
ijklmnopqrstuvw
xyz1234567890
$.,'-:;!?""
ABCDEFGHIJKLMNOPQRR
$'.-.iJ>""
â– I "â– ! = -
36 POINT FOLIO BOLD. BAUER
ABCDEFGHIJKLMNOPQRRSTUVWXYZ
90$.,'-:;!?""
288
DISPLAY FACES
IBCDEFGHIJKLMNOPQRST
IVUVXYZ&abcdefghijklmn
ipqrstuvwxyzl23456789O
3OINT FOLIO EXTRABOLD, BAUER
IBCDEFGHIJKLMNOP
(RSTUVWXYZ&abcd
jfghijklmnopqrstuv
vxyz1234567890
'.-I?
i â€¢Â»â€¢â€¢
3INT FOLIO BOLD CONDENSED, BAUER

FOLIO DISPLAY FACES
UVWXYZ&abcdefghijklm
nopqrstu vwxyzl 2345678
90$./-:;!?
54 POINT FOLIO BOLD CONDENSED, BAUER
V"| â– !â– â–
vwxyz1234567890$.,'-:;!?
1_
290
JO
fghijklmnop
qrstuvwxy
234567890
DPQRrSTUV
AaBCDE0FG
WXYZ&abcd
HIJKLMmiSin
DISPLAY FACES
3>M "â€¢;!?
OINT FOLIO MEDIUM EXTENDED l& alternate characters). BAUER

tuvwxy
ijklmnopqrs
1234567890
Z&abcdefgh
RSTUVWXY
JKLMNOPQ
ABCDEFGHI
FOLIO DISPLAY FACES

66 POINT FOLIO MEDIUM EXTENDED ITALIC, BAUER

FOLIO DISPLAY FACES
AaecDEeFGRu
KLMmiSinOPQ
RrSTUVWXYZ&
abcdefghijklmn
opqrstuvwxyz
$'.â– â€¢1'?""
54 POINT FOLIO MEDIUM EXTENDED {&. alternate characters), BAUER
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdef
ghijklmnopqrst
uvwxyz.1234567
890$.,'-:;!?
U11

FOLIO DISPLAY FACES
AaBCDEeFGHIJKLMmiMn
OPQRrSTUVWXYZ&abcdef
567890$.,'-:;!?""
36 POINT FOLIO MEDIUM EXTENDED (4 alternate characters), BAUER
ABCDEFGHIJKLMNOPQRS
ff 99
AaBCDEeFGHUKLMmNnopQRrsTu
VWXYZ&abcdefghijklmnopqrstuvwx
yz1234567890$.,'-:;!?""
24 POINT FOLIO MEDIUM EXTENDED (4 alternate characters), BAUER
67890$.,'-:;!?"
iff
294
,=>::!?
iÂ»tt)r 1)51234567890
0|)l|r5lnilÂ«123456789l
ITUR DISPLAY FACES
>5l234567890v=':;!?
INT FRAKTUR 16-2, LUDLOW

INT FRAKTUR 16-2, LUDLOW
NT FRAKTUR 18-1, LUDLOW

1234567890.-':!?
234567890.;-':;!?
WStiitiion)il23456789l)./:;!?
24 POINT FRAKTUR 16-3, LUDLOW

FRAKTUR DISPLAY FACES

:RANKLIN GOTHIC DISPLAY FACES
ABCDEFGHIJK
LMNOPQRSTU
VWXYZ&abcd
efghijklmnopqr
stu vwxyz 1234
567890$.,-'::!?
0 POINT FRANKLIN GOTHIC, LUDLOW
ABCDEFGHIJKLMNOPQR
mnopqrstu vwxyz 123456
7890$-,-':;!?
36 POINT FRANKLIN GOTHIC, LUOLOW
&abcdefghijklmnopqrstuvwxyzl2345
67890$.,-,:;!?
!4 POINT FRANKLIN GOTHIC, LUDLOW

FRANKLIN GOTHIC DISPLAY FACES
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefg
hijklmnopqrstuvwxyz
1234567890$./:;!?
60 POINT FRANKLIN GOTHIC EXTRA CONDENSED, LUDLOW
1234567890$.,-':;!?
uvwxyzl234567890$.,-,:;!?

8
299
cdefs Hi j
30 POINT HELLENIC WIDE, BAUER

HELLENIC W,DE DISPLAY FACES


HELLENIC WIDE DISPLAY FACES
defgliij IclnanopCLrstULV wxy zflfTfll2 S-^BQTSQO

HORIZON DISPLAY FACES
ABCDEFGHIJKLM
NOPQRSTUVWX
YZ&abcdefghijklm
nopqrstuvwxyzfffifl
A1234567890
I POINT HORIZON LIGHT, BAUER
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&abc
defghijklmnopqrstuvwx
yzffMfll234567890
$ '-I?
48 POINT HORIZON LIGHT, BAUER
301
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqrstuv
wxyzfffiflft1234567890
48 POINT HORIZON LIGHT ITALIC, BAUER
ABCDEFGHIJKLMNOPQRS
op qrstu vwxyzff fiflftl 2 3 4 5 6 7 8
90$./-:;!?
ABCDEFGHIJKLMNOPQR
nopqrstuvwxyzfffiflfll 23456 78
90$./-:;!?
302
HORIZON DISPLAY F^CES
YZ&abcdefghijklmnopqrstuvwxyz
fffiflftl234567890$./-:;!?
XYZ& abcdefghijklmnopqrstuvwxyz
ffjjflft1234567890$.;-:;!?
30 POINT HORIZON LIGHT ITALIC. BAUER
ijklmnopqrstuvwxyzfffiflftl234567890$./-:;!?
hijklmnopqrstuvwxyzfffiflftl 234567890$. /-.-;/?
uvwxyzfmflftl234567890 $./-:;!?
tuvwxyzfffiflft1234567890$.,'-:;!?
yzfffiflftl234567890$./-:;!?

ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefehijklmnopqrstuvw
xyzfffiflft 1234567890 $./-:;!?
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefghi
jklmnopqrstuvwxy
fffiflftl234567890
$ '-I?
M^Â»r â€¢f â€¢ â€¢
60 POINT HORIZON MEDIUM, BAUER
XYZ&abcdefghijklmnopqrstuvwxyz
fffiflftl234567890$./-:;!?
tuvwxyzfffiflftl234567890$./-:;!?
304
(ORIZON DISPLAY FACES
ABCDEFGHIJK
LMNOPQRSTU
VWXYZ&abcde
fghijklmnopqrst
uvwxyzfffiflftl23
4567890$./-:;!?
Â» POINT HORIZON BOLD, BAUER
uv*vxyzfffiflftl234567890$./-:;!?
30 POINT HORIZON BOLD, BAUER
mnopqrstuvwxyzfffiflftl234567890$.,-:;!?
18 POINT HORIZON BOLD, BAUER
305
306
, -V
LATIN
DISPLAY FACES
48 POINT LATIN WIDE, STEPHENSON BLAKE

ATIN
DISPLAY FACES
POINT LATIN WIDE, STEPHENSON BLAKE

POINT LATIN WIDE, STEPHENSON BLAKE
POINT LATIN WIDE. STEPHENSON BLAKE
2 POINT LATIN WIDE, STEPHENSON BLAKE

LATIN DISPLAY FACES
ABCDEFGHIJKLMNOPQR
STU Y WX YZ&abcdefghij kl
mnopqrstuYwxyzfiffflffiffll2
34567890$.;'-:;!?""
36 POINT LATIN BOLD CONDENSED, STEPHENSON BLAKE
ABCDEFGHIJKLMNOPQRSTUYWXYZ&abcdefgh
ij klmnopqrstuvwxyzflffflfflffl 1234567890$.,"-:;!?""
ABCDEFGHUKLMNOPQRSTUYWXYZ&abcdefghijklmnopqrstuvwxyzfifmffiffll23456
7890$.."-:;!?""
12 POINT LATIN BOLD CONDENSED, STEPHENSON BLAKE
ABCDEFGHIJKLMNOPQRSTDVWXYZ
>< ..10""
POINT LATIN ELONGATED, STEPHENSON BLAKE
ABCDEFGHIJKLMNOPpTOYWXYMakdef
ghijklmnopqrstuvwxyzfiffflfflffll234567890$
j â€¢>
36 POINT LATIN ELONGATED, STEPHENSON BLAKE
306
LATIN DISPLAY FACES
ABCDEFGHIJKLMNOPORSTUYWXYZ&abcdefghijklmnopqrstuvwxyz
fflM1234567890$.,"-:;!?
III!
1 LL
ABCDEFGHIJKLMNOPQRSTUYWXYZ&abcdefghijklmnopqrstuvwxyzfifrafflffll234567890$
18 POINT LATIN ELONGATED, STEPHENSON, BLAKE
ABCDEFGHIJKLMNOPQRSTUVWXYZAabcdefghijklmDopqrstuvwxyzfl(nifflflll234567890$.,"-:;!?""
LIGHTLINE GOTHIC
xyzl 234567890$.
36 POINT LIGHTLINE GOTHIC, ATF
&abcdefghijklmnopqrstuvwxyzl234567
890$,"-:;!?""
hiiklmnopqrstuvwxyzl234567890$.,"-:;!?""
stuvwxyzl234567890$./'-:;!?""

309
LINING LITHO DISPLAY FACES
Z&1234567890$.,-':;!?
18 POINT #2 LINING LITHO LIGHT 45-L, LUDLOW
YZ& 1234567890$.,-';;!?
18 POINT #2 LINING LITHO BOLD 45-B, LUDLOW
LINING PLATE GOTHIC
ABCDEFGHIJKLMIMOPQRSTUV
WXYZ&1234567890$.-/:;!?
24 POINT #1 LINING PLATE GOTHIC BOLD, LUDLOW
1234567890$.,-:;!?
12 POINT #4 LINING PLATE GOTHIC BOLD, LUDLOW
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&1234567890$
â€¢4â€” .... â€¢
24 POINT #2 LINING PLATE GOTHIC HEAVY, LUDLOW
ABCDEFGHUKLMNOPQRSTUVWXYZ&1234
56789QS.X:;!?
18 POINT #1 LINING PLATE GOTHIC HEAVY, LUDLOW
1234567890$.,-':;!?
18 POINT #2 LINING PLATE GOTHIC HEAVY CONDENSED, LUDLOW
ABCDEFGHIJKLMNOPQRSTUVWXYZ&1234567890$./:;!?
12 POINT #4 LINING PLATE GOTHIC HEAVY CONDENSED, LUDLOW
310
LINING PLATE GOTHIC DISPLAY FACES
123456789Q$.r::!?
12 POINT ir4 LINING PLATE GOTHIC HEAVY EXTENDED, LUDLOW
1234567890$..-'::!?
12 POINT #2 LINING PLATE GOTHIC HEAVY EXTENDED, LUDLOW
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&1234567890$
M â€¢ i Â« *
24 POINT #2 LINING PLATE GOTHIC LIGHT, LUDLOW
ABCDEFGHIJKLMNOPQRSTUVWXYZ&1234
567890$./:;!?
18 POINT #1 LINING PLATE GOTHIC LIGHT, LUDLOW
1234567890$..-':;!?
18 POINT H2 LINING PLATE GOTHIC LIGHT CONDENSED, LUDLOW
ABCDEFGHUKLMNOPQRSTUVWXYZ&
123456789QS..-':;!?
12 POINT #4 LINING PLATE GOTHIC LIGHT EXTENDED, LUDLOW
ABCDEFGHIJKLMNOPQRSTUVWXYZ&123456789Q$.,-':;!?
12 POINT #2 LINING PLATE GOTHIC LIGHT EXTENDED, LUDLOW
MICROGRAMMA
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&12
34567890$.,"-:;!?""
36 POINT MICROGRAMMA NORMAL, AMSTERDAM CONTINENTAL

MICROGRAMMA DISPLAY FACES
VWXYZ&12345B78g0$.,,-:;!?,,,,
30 POINT (small) MICROGRAMMA NORMAL, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMN0PQRSTUVWXYZ&1234
567890$.,''-:;!?""
18 POINT MICROGRAMMA NORMAL, AMSTERDAM CONTINENTAL
VWXYZ&1234567890$.,"-:;!r
36 POINT MICROGRAMMA CONDENSED, AMSTERDAM CONTINENTAL
1234567890$.,"-:;!?""
30 POINT (small) MICROGRAMMA CONDENSED, AMSTERDAM CONTINENTAL
' ,Â«,.Â»
ABCDEFGHIJKLMN0PQRSTUVWXYZ&1234567890$.,'-:;!?"
18 POINT MICROGRAMMA CONDENSED, AMSTERDAM CONTINENTAL
LMNDPQRSTU
VWXYZ&1234
567890$.,"-::!?""
36 POINT MICROGRAMMA EXTENDED, AMSTERDAM CONTINENTAL
312
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&12
34567890$.,"-:;!?""
30 POINT (small) MICROGRAMMA EXTENDED, AMSTERDAM CONTINENTAL
\A/XYZ&12345B7SÔÂ£.>,'-:;!?,,"
18 POINT MICROGRAMMA EXTENDED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&1234567890S
36 POINT MICROGRAMMA BOLD, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMIMOPQR
STUVWXYZ&123456789
OS.,"-:;!?""
30 POINT (small) MICROGRAMMA BOLD, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMIUOPQRSTUVWXYZS
1234567890$.,''-:;!?""
18 POINT MICROGRAMMA BOLD, AMSTERDAM CONTINENTAL

KLMNOPQRS
TUVWXYZ&1
â– I â– !â– "
36 POINT MICROGRAMMA BOLD EXTENDED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLM
NOPQRSTUVWXY
]C_..IOJ]"
â– â– â– !â– â–
30 POINT (small) MICROGRAMMA BOLD EXTENDED, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNDPQRSTU
j'.-.i'pji"
18 POINT MICROGRAMMA BOLD EXTENDED, AMSTERDAM CONTINENTAL

ABCDEFGHIJKL
MNOPQESTUVW
XYZ&abcdefghijkl
mnopqrstuvwxyzfffi
48 POINT MODERN 20, STEPHENSON BLAKE
wxyzfffiflffiffll234567890$.,,t-:;!?""
UVWXYZdbabcdefghijklmnopqrstu
vwxyzfffflffiffll234567890$.;i-:;!r"
30 POINT MODERN 20 ITALIC, STEPHENSON BLAKE
klmnopqrstuvwxyzfffiflffiffll234567890$.,,(-:;!?"u
ijklmnopqrstiwwxyzfffflfflffll234567890$.;'-:;!r"
18 POINT MODERN 20 ITALIC, STEPHENSON BLAKE ~~^â€”' '
315
RECORD GOTHIC DISPLAY FACES
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdef
ghijklmnopqrstuvwxyz
1234567890$,-':;!?
48 POINT RECORD GOTHIC, LUDLOW
uvwxyzl234567890$.,-':;!?
ghijklmnopqrstuvwxyzl234567890$.,-':;!?
316
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmn
opqrstuvwxyzl23
4567890$.,-'::!?
SO POINT RECORD GOTHIC BOLD, LUDLOW
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmn
opqrstuvwxyzl23
4567890$./:;!?
60 POINT RECORD GOTHIC BOLD ITALIC, LUDLOW
317
tuvwxyzl234567890$.,-':;!?
36 POINT RECORD GOTHIC BOLD, LUDLOW
ABCDEFGHIJKLMNOPQRS TU
uvwxyzl234567890$./:;!?
fghijklmnopqrstuvwxyzl234567890$.,-':;!?
24" POINT RECORD GOTHIC BOLD, LUDLOW
fghijklmnopqrstuvwxyzl234567890./:;!?
318
RECORD GOTHIC
DISPLAY FACES
ABCDEFGH
klmnoDQrstuvwxvzl
-'â€¢â€¢i?
â€¢; â€¢;
â– i â€¢ *
60 POINT RECORD GOTHIC THINLINE CONDENSED, LUDLOW
90$,':;!?
uvwxyzl234567890$.,-';!?
Â« POINT RECORD GOTHIC EXTRA CONDENSED, LUDLOW
319
wxyzl234567890$,-':;!?
17
36 POINT RECORD GOTHIC EXTRA CONDENSED, LUDLOW
24 POINT RECORD GOTHIC EXTRA CONDENSED, LUDLOW
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghi
jklmnopqrstuvwxyzl234
567890$./:;!?
60 POINT RECORD GOTHIC CONDENSED, LUDLOW
VWXYZ&abcdefghijklmnopqr
stuvwxyzl234567890$./:;!?
60 POINT RECORD GOTHIC CONDENSED ITALIC, LUDLOW
^ 320
cdefghijklmnopqrstuvwxyzl234567890
yv â– ;â– â–
cdefghijklmnopqrstuvwxyzl234567890
TK'/ V*'
tuvwxyz 1234567890$.,-'=;!?
uvwxyzl234567890$./:;!?
ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijkl
mnopqrstuvwxyz
1234567890$.,-':;!?
48 POINT RECORD GOTHIC EXTENDED, LUDLOW
321
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklm
n op qrs tu vwxyzl2
34567890$.,-':;!?
48 POINT RECORD GOTHIC EXTENDED ITALIC, LUDLOW
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghi
jklmnopqrstuvwxyzl23
4567890$.,-':;!?
ABCDEFGHIJKLMNOPQ
RS TUVWXYZ&abcdefghi
jk/mn op qrs tu vwxyzl23
4567890$./:;!?
322
Z&abcdefghijklmnopqrstuvwxyzl23
4567890$.,-':;!?
ABCDEFGHIJKL MNOPQRSTU VWX Y
Z&abcdefghijklmnopqrstuvwxyz
1234567890$./:;!?
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefg
hijklmnopqrstuvw
xyzl234567890
$ -'â– â– !?
60 POINT RECORD GOTHIC MEDIUM EXTENDED, LUDLOW
323
ABCDEFGHIJKLMNOPQRS
opqrstuvwxyzl234567890$
-'â– â– !?
0$ -'â€¢â€¢!?
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefg
hijklmnopqrstuv
wxyzl2345678
90$.,-':;!?
60 POINT RECORD GOTHIC BOLD MEDIUM EXTENDED, LUDLOW
324
ABCDEFGHIJKLMNOPQRS
nopqrstuvwxyzl2345678
90$.,-':;!?
bcdefghijklmnopqrstuvwxyzl2345678
0$.,-':;!?
ABCDEFGHIJ
KLMNOPQR
STUVWXYZ&
abcdefghijkl
mnopqrstuv
wxyzl23456
7890$.-':;!?
60 POINT RECORD GOTHIC BOLD EXTENDED, LUDLOW
325
ABCDEFGHIJ
KLMNOPQR
STUVWXYZ&
abcdefghijkl
mnopqrstuv
wxyzl23456
7890$./:;!?
60 POINT RECORD GOTHIC BOLD EXTENDED ITALIC, LUDLOW
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcde
fghijklmnopqrstuvwxy
zl234567890$.,-':;!?
326
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcde
fghijklmnopqrstuvwx
yzl234567890$.,':;!?
1234567890$.,-':;!?
XYZ&abcdefghijklmnopqrstuvw
ROMAN COMPRESSED 3
UYWXYZ&abcdefghijklmno
pqrstuvwxyzfffiflfflffil23456
7890$,"-:;!?""
48 POINT ROMAN COMPRESSED 3, STEPHENSON BLAKE
327
ROMAN COMPRESSED 3 DISPLAY FACES
abcdefghijklmnopqrstuvwxyzfiflffffiffll234567
890$,"-:;!?""
ABCDEFGHIJKLMNOPQRSTUYWXYZ&abcdefghijklmnopqrstuvw
xyzflfltffflffll234567890$,,"-:;!?""
STENCIL
ABCDEFGHIJKL
MNOPQRSTUVWX
.'â€¢â€¢to
â€¢ 9 Â»9Â» â€¢
36 POINT STENCIL, LUDLOW
TORINO
ABGDEFGHIJKLMNO
PQRSTUVWXYZ&abc
defghij klmnopqrstuvw
xyzfiffflffiffl!234567890
â€¢ â€¢ â€¢â€¢â€¢ â€¢
48 POINT TORINO, AMSTERDAM CONTINENTAL
328
TORINO DISPLAY FACES
ABCDEFGHIJKLMN
OPQBSTUVWXYZ&
abcdefghijklmnopqrst
uvw%yzft,ffflfft,ffll2345
67890$.;'-:;!?""
Â« POINT TORINO ITALIC, AMSTERDAM CONTINENTAL
cdefghijklmnopqrstuvwxyzfifflffiffll234567
890$.,"-:;!?""
24 POINT (large) TORINO, AMSTERDAM CONTINENTAL
&abcdefyhijklmnopqrstuvw%yzftffflffiffll2
34567890$.,"-:;!?""
24 POINT (large) TORINO ITALIC, AMSTERDAM CONTINENTAL
ABGDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzfiffflffiffl
1234567890$.,"-:;!?""
14 POINT TORINO, AMSTERDAM CONTINENTAL
fiff'flffiffll234567890$.,"-:;!?'
)>>Â«
14 POINT TORINO ITALIC, AMSTERDAM CONTINENTAL
329
UNIVERS DISPLAY FACES
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqr
stu\A/vxyz12 345 678
90!?$.,:;)"
48 POINT UNIVERS 55, ATF
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmno
pqrstuvwxyz 12345
67890!?$.,:;(
IF

ABCDEFGHIJKLMNOPQR
890!?$.,:;()"
ABCDEFGHIJKLMNOPQR
STUVWX YZ&abcdefghijkl
mnopqrstuvwxyz 1234567
890!? $.,:;("
wxyz1234567890!?$.,:;)"
ABCDEFGHIJKLMNOPQRS TU
uvwxyzl 234567890!?$.,:;("
: â€¢â€¢â€¢â€¢tod by Deberny el Peignot, Paris, for ATF.
331
abcdefghijklmnopqrstuvwxyz12345678
90!?$.,:;)"
24 POINT (large) UNIVERS 55, ATF
ABCDEFGHIJKLMNOPQRS TUVWXYZ
8901? $.,:;("
Imnopqrstuvwxyz1234567890!?$./:;)"
24 POINT (small) UNIVERS 55, ATF
A BCDEFGHIJKLMNOPQRS TU VWX YZ& abcdefghi
jklmnopqrstuvwxyzl 234567890!?$.,:;()"
24 POINT (small) UNIVERS 56, ATF
wxyz1234567890!?$.,:;Q"
wxyz1234567890!?$.,:;Q"
67890!?$.,:;()"
14 POINT UNIVERS 55. ATF
A BCDEFGHIJKLMNOPQRS TU VWX YZ& abcdefghijklmnopqrstuvwxyz12345

67890!?$.,:;Q"
33:
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890!?$
..:;()"
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890!?$
â€¢â€¢()"
' â€¢â€¢'\/
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqrs
tuvwxyz123456789
0!?$.,:;)"
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqr
stuvwxyzl 2345678
9 0! ?$.,:;("
I POINT UNIVERS 46, ATF
Created by Deberny et Peignot, Paris, for ATF

ABCDEFGHIJKLMNOPQRS
opqrstuvwxyzl 2345 67890
ABCDEFGHIJKLMNOPQR
S TUVWXYZ&abcdefghijkl
mnopqrstuvwxyz 1234 567
bcdefghijklmnopqrstuvwxyzl 2 34567890
abcdefghijklmnopqrswvwxyz 12345678

ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijkl
mnopqrstuvwxyzl
234567890!?$
1t
ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijk
fmnopqrstuvwxyz
1234567890!?$
POINT UNIVERS 66, ATF
Â«ated by Deberny et Pelgnot, Paris, for ATF.

ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdefg
hijklmnopqrstuvwxyz123
4567890!?$.,:;()"
ABCDEFGHIJKLMNOP
QRS TU VWX YZ& abcdef
ghijklmnopqrstuvwxyz 1
234567890!?$.,:;("
567890!?$.,:;)"
YZ& abcdef ghijklmnopqrstuvwxyz 123
4567'890!?$.,:;("

ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefgh
ijklmnopqrstuvwx
yz1234567890!?$
,.\"
â€¢fmr I
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&abcdefg
hijklmnopqrstuv
wxyz123456789
I POINT UNIVERS 76, ATF
e'ated by Deberny et Peignot, Paris, for ATF.

ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcde
fghijklmnopqrstuvwxyz
1234567890!?$.,:;)"
ABCDEFGHIJKLMNOP
QRS TUVWXYZ&abcde
fghijklmnopqrstuvwxy
z1234567890!?$.,:;"
1234567890!?$.,:;)"
ABCDEFGHIJKLMNOPCLRS TUVW
X YZ&abcdefghijklmnopqrstuvwxy
z1234567890!?$.,:;("
338
ABCDEFGHIJKLMNOPQRT
qrstuvwxyz1234567890!?$.,:
(II
ABCDEFGHIJKLMNOPQRS
opqrstuvwxyz! 234567 890
^BCDEFGHIJKLMNOPQRSTUVWXYZ
i POINT UNIVERS 47, ATF
eated by Deberny et Peignot, Paris, for ATF.
339
Z&abcdefghijklmnopqrstuvwxyzl234
567890!?$.,::("
stuvwxyz1234567890!?$.,:;("
pqrstuvwxyzl234567890!?$.,::("
ABCDEFGHIJKLMNOPQR
890!?$.,:;)"
340
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdefg
34567890!?$.,:;("
l POINT UNIVERS 58, ATF
1234567890!?$.,:;)"
A BCDEFGHIJKL MNOPQRS TU V
WXYZ& abcdefghijklmnopqrstuv
wxyzl234567890!?$.,:;("
mnopqrstuvwxyz1234567890!?$.,:;)"
jklmnopqrstuvwxyz1234567890!?$.,:;("
Created by Deberny et Peignot, Paris, for ATF

ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdef
34567890!?$.,:;("
ABCDEFGHIJKLMNO
PaRSTUVWXYZ&abc
defghijklmnopqrstuv
wxyz1234567890!?$..
vwxyz1234567890!?$,:;(
342
ABCDEFGHIJKLMNOPdRSTU
tuvwxyz1234567890!?$.,:;) "
890!?$.,:;(
ii
ABCDEFGHIJKLMNOPdRSTUVWX
YZ&abcdefghijklmnopqrstuvwxyz12
34567890!?$..-.;)
Created by Deberny et Peignot, Paris, for ATF.

VENUS DISPLAY FACES
ABCDEFGHIJKLMNOPQR
nopqrstuvwxyz1234567890$
â– â– -'!?
42 POINT VENUS MEDIUM, BAUER
XYZ&abcdefghijklmnopqrstuvwxyz12
34567890$.,:;-'!?
$.,:;-!?
hijklmnopqrstuvwxyz1234567890$.,:;-'I?
ijklmnopqrstuvwxyz1234567890$.,:;-'!?
24 POINT VENUS MEDIUM ITALIC, BAUER

VENUS DISPLAY FACES
ABCDEFGHIJKLMNOPORSTUVWXYZ&abcdefghijklmnop
qrstuvwxyz1234567890$.,:;-'!?
13 POINT VENUS MEDIUM, BAUER ~
qrstuvwxyz 1234567890$.,:;-'!?
.I POINT VENUS MEDIUM ITALIC, BAUER
ABCDEFGHIJKLMNOPORSTUVWXYZciabcdefghijklmnopqrstuvw
xyz1234567890$.,:;-'l?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvw
xyz1234567890$.,:;-'!?
7890$.,:;-'!?
14 POINT VENUS MEDIUM, BAUER ~~
7890$.,:;-'!?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,;;-'l?
12 POINT VENUS MEDIUM, BAUER "' ~"
ABCDEFGHIJKLMNOPQRS TUVWXYZ& abcdefghijklmnopqrstuvwxyz 1234567890$.,:;-'!?
ABCDEFGHIJKLMNOPQRSTUVWXYZ A abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'l?
ii> POINT VENUS MEDIUM, BAUER

ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz 1234567890$..:;-'!?
345
VENUS DISPLAY FACES
ABCDEFGHIJKLMNOPORSTUVWXYZ&abcdefghijklmnopq
rstuvwxyz1234567890$.,'-:;l?)
18 POINT VENUS LIGHT, BAUER
tuvwxyzl 234567890$.,:;-'!?
18 POINT VENUS LIGHT ITALIC, BAUER
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.;-:;!?)
12 POINT VENUS LIGHT, BAUER
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'!?
12 POINT VENUS LIGHT ITALIC, BAUER
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefghi
jklmnopqrstuvwxyz12345
67890$.,:;-'!?
42 POINT VENUS BOLD, BAUER
vwxyz1234567890$.,:;-'!?
346
VENUS DISPLAY FACES
ABCDEFGHIJKLMNOPQR
nopqrstuvwxyz1234567890$
36 POINT VENUS BOLD ITALIC, BAUER
&abcdefghijklmnopqrstuvwxyz1234567 o
890$.,:;-'!?
WX YZ&abcdefghijklmnopqrstuvw
xyz123456 7890$.,:;-'!?
defghijklmnopqrstuvwxyz1234567890$.,:;-'l?
abcdefghljklmnopqrstuvwxyz123456789
0$.,:;-'!?
opqrstuvwxyz1234567890$. ,:;â– '!?
'8 POINT VENUS BOLD, BAUER " "
347
VENUS DISPLAY FACES
ABCDEFGHIJKLMNOPQRS TUVWX YZ& abcdefghij
klmnopqrstuvwxyz12345 6 7890$.,:;- 7?
18 POINT VENUS BOLD ITALIC, BAUER ~~
tuvwxyz1234567890$.,:;-'l?
opqrstuvwxyz 1234567890$.,:;- 77
567890$.,:;-'!?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghiJklmnopqrst
uvwxyz1234567890$.,:;-'!?
4567890$.,:;-'!?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'l?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghlJklmnopqrstuvwxyz1234567890$.,:;-'!?

Note: Venus Bold Italic matches the weight of Venus Extra Bold in the Roman.
348
VENUS
DISPLAY FACES
Imnopqrstuvwxyz1234567890$.,'-:;!?
18 POINT VENUS EXTRA BOLD, BAUER
ABC DEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzl 2345
67890$.,'-:;!?
12 POINT VENUS EXTRA BOLD, BAUER
ABCDEFG
stuvwxyz1234567890$.,:;-'!7
66 POINT VENUS LIGHT CONDENSED, BAUER
â€¢â€¢-'I?
defghijklmnopqrstuvwxyz1234567890$.,:

VENUS DISPLAY FACES
pqrstuvwxyz1234567890$.,:;-l?
wxyz1234567890$.,:;-l?
ABCDEF6HIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz123
4567890$.,:;-'!?
ABCDEF6HIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'!?
ABCDEFGHlJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'!?
ABCDEFGHIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'!?
10 POINT VENUS LIGHT CONDENSED,~~BAUER ~
350
VENUS
ABCDEFGH UKLMN Q P Q
RSTUVWXYZ&abcdefg
hijkl mnopqrstu v wxy z
1234567890$.,:;-'!?
34 POINT VENUS BOLD CONDENSED, BAUER
UVWXYZ&abcdefghijklmno
pqrstuvwxyz1234567890
$ --'I?
351
VENUS DISPLAY FACES
YZ&abcdefghijklmnopqrstuvwx
yz1234567890$.,:;-'!?
defghijklmnopqrstuvwxyz1234567890$
â– â– .'I?
â– !â– ! â– â–
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefgiiijkl
mnopqrstuvwxyz1234567890$.,:;-l?
tuvwxyz1234567890$.,:;-'l?
1234567890$.,:;-'!?
352
VENUS DISPLAY hAUCO
ABCDEFGHIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890S.,:;
ABCDEF6HMKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.>:;-,l?
16 POINT VENUS BOLD CONDENSED. BAUER
ABCDEF6HIJKLMN0PQR8TUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'!?
ABCDEF6HIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890 $.,:;-'!?
12 POINT VENUS BOLD CONDENSED. BAUER
UCDEF6HIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'i?
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&ab
cdefghijklmnopqrst
uvwxyz1234567890
$ --'I?
84 POINT VENUS EXTRA BOLD CONDENSED, BAUER
353
VENUS DISPLAY FACES
ABCDEFGHIJKLMNOPQR
STUVWXYZ&abcdefghij
klmnopqrstuvwxyz123
4567890$-;-'!?
VWXYZ&abcdefghijklmnopq
rstuvwxyzl 234567890$.,:;-'
I?
354
LMOTLMT rÂ«^CO
ABCDEF6HIJKLMN0PQRSTUVWXYZ&
7890$.,:;-'!?
a POINT VENUS EXTRA BOLD CONDENSED, BAUER
ijklmnopqrstuvwxyz1234567890$.,:;-'!?
qrstuvwxyz1234567890$.,:;-'!?
yz1234567890$.,:;-'!?
18~POINT VENUS EXTRA BOLD CONDENSED, BAUER
ABCPEFGHIJKLMN0PQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-'!?
ABCDEFGHIJKLMN0PqRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$.,:;-,!?
M POINT VENUS EXTRA BOLD CONDENSED, BAUER
ABC0EF6HIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqr8tuvwxyz1234567890$.,:;-'!?
'2 POINT VENUS EXTRA BOLD CONDENSED, BAUER
355
VENUS DISPLAY FACES
ABCDEFGHI JKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzl 234567890$.,:;-'!?
ABCDEFGHIJKLMNOPQRS
pq rstu vwxyzl 234567890$,:;-'
36 POINT VENUS LIGHT EXTENDED, BAUER
yz1234567890$.,:;-'!?
0$.,:;-'!?
ABCDEFGHI JKLMNOPQRSTUVWXYZ&abcdef
ghijklmnopqrstuvwxyz1234567890$.,:;-'!?
ABCDEFGHIJKLMNOPQRSTUVWXYZ&aDcdefghijk
Imnopqrstuvwxyzl 234567890$.,:;-'!?
ABCDEFOHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstu
vwxyzl 234567890$.,:;-'!?
356
VENUS DISPLAY FACES
34567890$.,:;-'?!
I2 POINT VENUS LIGHT EXTENDED, BAUER
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzl 234567890$
U POINT VENUS LIGHT EXTENDED, BAUER
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqrstu
vwxyz1234567890$.,:
â– -'I?
) â– â–
n POINT VENUS MEDIUM EXTENDED, BAUER
ABCDEFGHIJKLMNOPQR
$.,:;-'!?
36 POINT VENUS MEDIUM EXTENDED, BAUER
vwxyz1234567890$.,:;-'!?

VENUS DISPLAY FACES
7890$.,:;-'!?
efghijklmnopqrstuvwxyz1234567890$.,:;-'!?
klmnopqrstuvwxyzl 234567890$.,:;-'!?
stuvwxyzl 234567890$.,:;-'!?
34567890$.,:;-'!?
ABCDEFGHUKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyz1234567890$

VENUS DISPLAY FACES
ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijk
Imnopqrstuvwxyz
-'I*?
42 POINT VENUS BOLD EXTENDED, BAUER
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&abc Â°Â° ^
defghijklmnopqrstuvw
ABCDEFGHIJKLMNOPQRS
no]
Q$.,:;-'l?
359
VENUS DISPLAY FACES
vwxyz1234567890$.,:;-'!?
bcdefghijklmnopqrstuvwxyz123456789
Q$â€ž:;-'l?
fghijklmnopqrstuvwxyz1234-56789Q$.,:;-'!?
mnopqrstuvwxyz1234567890$.,:;-'!?
wxyz1234567890$.,:;-M?
ABCDEFGHIJKLMNOPQRSTUV WXYZ&abcdefghijklmnopqrstuvwxyz1234567
8QO Â».,:;-'!?
360
VENUS DISPLAY FACES
ABCDEFGHIJK
LMNOPQRSTU
fghijklmnopcirs
tuvwxyzl 2345
â– Â§â– â€¢
Q POINT VENUS EXTRA BOLD EXTENDED, BAUER
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopq
rstuvwxyz1234567
â– â– _'
â– Â»â– Â»
S POINT VENUS EXTRA BOLD EXTENDED, BAUER
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ&abcdefg
34567890$,,:;-'
Â» POINT VENUS EXTRA BOLD EXTENDED, BAUER

VENUS DISPLAY FACES
UVWXYZ&abcdefghijklmno
pqrstuvwxyz1234567890$
-"-'â–
24 POINT VENUS EXTRA BOLD EXTENDED, BAUER
cdefghijklmnopqrstuvwxyz1234567890
klmnopqrstuvwxyz1234567890$.,:;-'!?
14 POINT VENUS EXTRA BOLD EXTENDED, BAUER _ ~ ~
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghi|klmnopqr<
tuvwxyz1234567890$.,:;-'!?
12 POINT VENUS EXTRA BOLD EXTENDED, BAUER " _
ABCDEFGHIJKLMNOPQRSTUVWXYZÂ«abcdefghljklmnopqrstuvwxyz12:
4567890$.,i;-'l?
362
fc
363
Ja
r^/tt
*wf/et
BANK SCRIPT
>(-. .Â»"<(
yi4&J4fe7#ac$., **..//?
14 POINT BANK SCRIPT, ATF

24 POINT BANK SCRIPT, ATF
*6 POINT BANK SCRIPT, ATF
DISPLAY FACES/SCRIPTS
COMMERCIAL SCRIPT
DISPLAY FACES /SCRIPTS
48 POINT COMMERCIAL SCRIPT, ATF
4234567890$., '<-:;.'?"Â«
DUTCH INITIALS
60 POINT DUTCH INITIALS, ATF
364
ii
365
f 67590 $./-:;/>
60 POINT LEGEND. BAUER
48 POINT LEGEND, BAUER

DISPLAY FACES /SCRIPTS

tEGEND DISPLAY FACES/SCRIPTS
18 POINT LEGEND, BAUER
LIBRA
ABC&efqhijklmnopqRstu
VWXyZO1234567890$./'-:;!?'
ti m^ffii
36 POINT LIBRA, AMSTERDAM CONTINENTAL
ABc6efQhi]klmnopqRStuvwxyzoi234567890$
ABC6efQhl]klmnopqRStUVWXyZ&1234567890$.,"-:;!?""
MISTRAL
AZCbEFGHUlCLMNOPQZSmWV
36 POINT MISTRAL, AMSTERDAM CONTINENTAL
li
366
V
367
RAFFIA INITIALS
60,66 POINT RAFFIA INITIALS, AMSTERDAM CONTINENTAL

STRADIVARIUS
^JQ Woouabedefmiiklmno
toarbtnirwTuz
WO
J?
â€¢/ â€¢ /'
60 POINT STRADIVARIUS, BAUER
aaeflefgl)ijUmttop(jrAtuirurxyzfffiflft1^jo4 Ovt
.J?
I 'I
36 POINT STRADIVARIUS, BAUER
JeJ*hlljUm*aH,*mwzffillfi42M567890&,'-:,!?
________________
368
KBCDEFgHIJKmNOPQXSOUVWX
yZ&>akfofahijklmnof><irstuMxyz1234567890*
30 POINT THOMPSON QUILLSCRIPT, ATF
WCDZTgHlJKmNOPQKSOUVWXyZâkiefah
ijhlmnopqrstuMxtiz1234567890K,"-:;!?'
if Hi
mCVETQHlJKj:MNO^Q^SDUVWXyâSc%hijklmnoprstu^xi,2
1234567890*.,"-:;!?""
TYPO SCRIPT
5678901, "=â€¢â€¢;/? ""
60 POINT TYPO SCRIPT, ATF
A/(
369
= â€¢/? ""
j/W^^â^jÂ£^^

nvAaîwimw%J23Jt567890$., "=:;/i
ALBERTUS
ABCDEFGHIJKLMN
OPQRSTUVWXYZ8C
uvwxyzfiffflffiffll2345
67890$./'-:;!?
////
48 POINT ALBERTUS, MOULDTYPE FOUNDRY LTD
UVWXYZstabcdefghijklmno
pqrstuvwxyzfiffflffiffI1234567
890$./'-:;!?
i////
36 POINT ALBERTUS, MOULDTYPE FOUNDRY LTD.
ABCDEFGHI] KLMNOPQ RSTU VWXYZSCab
cdefghijkImnopqrstuvwxyzfiffflffiffll2345678
90$./'-:;!?""
24 POINT ALBERTUS, MOULDTYPE FOUNDRY LTD^-"
371
ABCDEFGHIJKL
MNOPQRSTUV
WXYZ&123456
7890$>:;!?^
48 POINT AUGUSTEA, AMSTERDAM CONTINENTAL
Z&1234567890$./~:;!?"v
ABCDEFGHIJKLMNOPQRSTUVWXYZ&123456
7890$./~:;!9"v
ID
UVWXYZ&12
'. -44lO
48 POINT AUGUSTEA SHADED, AMSTERDAM CONTINENTAL
DEF
Â£42345678
IV
p.
.NOPQRSTUVWXY
â€ž..|QVV
372
ABCDEFGHIJKLMNOPQRSTUVWXYZ&l!
4567890$./"
EGIZIO
ABCDEFGHIJ
KLMNOPQRS
TUVWXYZ&a
bcdefghijklmno
pqrstuvwxyzfiff
flffiffll234567890
Â»Â«
60 POINT EGIZIO MEDIUM, AMSTERDAM CONTINENTAL
373
EGIZIO DISPLAY FACES/ CLASSIC STYLES
ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijkl
mnopqrstuvwxyzfi
ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijkl
mnopqrstuvwxyzfiff
48 POINT EGIZIO MEDIUM ITALIC. AMSTERDAM CONTINENTAL
374
DISPLAY FACES/CLASSIC STYLES
fiffflffiffll234567890$.,"-:;!?!
24 POINT (large) EGIZIO MEDIUM. AMSTERDAM CONTINENTAL
YZ&abcdefghijklmnopqrstuvwxyzfifffl
mffll234567890$.,"-:;!?""
24 POINT (large) EGIZIO MEDIUM ITALIC, AMSTERDAM CONTINENTAL
nopqrstuvwxyzfifrflffimi234567890$.;'-:;!?"'e
18 POINT EGIZIO MEDIUM ITALIC, AMSTERDAM CONTINENTAL
lmnopqrstuvwxyzfifrflfTifni23456789Q$./<-:;!?>><<
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&abc
zfiffflffiffll234567890r-:
POINT EGIZIO MEDIUM CONDENSED, AMSTERDAM CONTNENTAL
375
3IZIO DISPLAY FACES/CLASSIC STYLES
ABCDEFGHIJKLMNOPQRS
Â»((
48 POINT EGIZIO MEDIUM CONDENSED, AMSTERDAM CONTNENTAL
ABCDEPGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmn
opqrstuvwxyzfiffflffiffll234567890$.,"-:;!?""
24 POINT (large) EGIZIO MEDIUM CONDENSED, AMSTERDAM CONTINENTAL
ELIZABETH
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdef
ghijklmnopqrstuvwxyzfffi
flftl234567890$.,'-:;!?
48 POINT ELIZABETH, BAUER
376
ELIZABETH DISPLAY FACbS / (JLASbiu uui-ta
ABCDEFGHIJKLMNOP
QRSTUVWXYZdabcdcfyh
ijklmnopqrstuvwxyz fffiflft 123
'-â€¢â€¢/?
48 POINT ELIZABETH ITALIC, BAUER
ABCDEFGHUKLMNOPQRSTUVWXY
Z&abcdefghijklmnopqrstuvwxyzfffiflftl234S
67890$,'-:;!?
30 POINT ELIZABETH. BAUER
&abcdefyhijklmnopqrstuvwxyzfffiflft12345678
90$.,'-:;!?
30 POINT ELIZABETH ITALIC. BAUER
ABCDEFGHIJKLMMOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwx
yzfffiflft!234567890$.,'-:;!?
18 POINT ELIZABETH, BAUER
ABCDEFGHUKLMNOPQRSTUVWXYZâbcdefyhijklmnopqrstuvwxyzfffflfl
1234567890$.,'-::!?
18 POINT ELIZABETH ITALIC, BAUER
377
TORIUNE DISPLAY FACES/CLASSIC STYLES
ABCDEFGH
IJKLMNOP
QRSTUVW
XYZ&abcdef
ghijklmnopq
r s tu vwxy z 12
3456789O'-:;!?
60 POINT FORTUNE LIGHT, BAUER
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&abcdefghijklmnop
qrstuvwxyzl2345678
378
FORTUNE DISPLAY FACES/CLASSIC STYLES
X YZ&ab c defghij klmnop qr stu vwxyz
1234567890$.,"-:;!?'
ABCDEFO
HIJKLMNO
PQRSTUV
WXYZ&abc
def ghij klmn
opqrstuvwx
yz!23456789
9944
60 POINT FORTUNE BOLD, BAUER

opqrstuv
ghi j klmn
TUVWXY
567890$.,"-
60 POINT FORTUNE EXTRA BOLD, BAUER

FORTUNE DISPLAY FACES / CLASSIC STYLES
ABCDEFGHIJKL
MNOPQRSTUVW
XYZ&abcdefghijkl
mnopqrstuvwxyz
1234567890$.,"-:;!?""
A B CDEFGHIJKLM
NOPQRSTUVWXYZ
<&abcdefghijklmnopq
rstuvwxyzfifffll2345
67890$.,"-:;!?""
42 POINT FORTUNE BOLD ITALIC, BAUER
AB CDEFGHIJKLMNOPQRSTU
vwxyzl23456789O$.,"-;;!?""
ftfffl,123456789O$.,"-:;!?
24 POINT FORTUNE BOLD ITALIC, BAUER

TTJVWXY
567890$.,"-

_
glii j klirmopqr st
STUVWXYZ&atocdefghijhlxn
â€¢9 "â€¢>â€¢â€¢

PALATINO DISPLAY FACES/CLASSIC STYLES
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&ab
cdefghij klmnopqrstu v
wxyzfifffl!234567890$
54 POINT PALATINO, AMSTERDAM CONTINENTAL
ABCDEFGHIJKLMNO
PQRSTUVWXYZ&ab
cdefghijklmnopqrstumvxyz
fifffll234567890$.,"-:;!?"
54 POINT PALATINO ITALIC, AMSTERDAM CONTINENTAL
X YZ&abcdefghij klmnopqrstuvwxyz
fifffll234567890$.,"-:;!r
384
PALATINO DISPLAY FACES/CLASSIC STYLES
XYZ&abcdefghijklmnopqrstuvwxyzfifffl
1234567890$.,"-:;!?""
ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzfifffl
1234567890$.,"-:;!?""
ABCDEFGHI]KLMNOPQRSTUVWXYZ&abcdefghijklmnopqrstuvwxyzfifffll23456
7890$.,"-:;!?""
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
uvwxyzfifffl!2345678
90$.,"-:;!?
54 POINT PALATINO SEMI BOLD, AMSTERDAM CONTINENTAL
xyzfiÂ£Efll234567890$.//-;;!?//
nil

DISPLAY FACES/CLASSIC STYLES
fifffll234567890$.//-:;!?"//
PERPETUA
ABCDEFGHIJKLM
NOPQRSTUVWX
YZ&abcdefghij klmn
opqrstuvwxyzfiffflffi
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60 POINT PERPETUA, MONOTYPE
386
PERPETUA DISPLAY FACES / CLASSIC STYLES
ABCDEFGHIJKLMN
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POINT PERPETUA ITALIC, MONOTYPE
ABCDEFGHIJKLMNOPQR
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U VWXYZâbcdefghijklmnop
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42 POINT PERPETUA ITALIC, MONOTYPE
387
PERPETUA DISPLAY FACES/CLASSIC STYLES
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ABCDEFGHIJKLMNOPQRS TU V WX YZâbcdefghijklmn
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24 POINT PERPETUA ITALIC, MONOTYPE
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PERPETUA DISPLAY FACES / CLASSIC STYLES
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&abcdef
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fiffflffiffl 12 34567890$
42 POINT PERPETUA BOLD, MONOTYPE
defghijklmnopqrstuvwxyzfiffflffiffl 12345678
24 POINT PERPETUA BOLD, MONOTYPE

FOREIGN FACES
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â€¢RUSSIAN, 706-30
a6Brje;K3HiHKJiMHOiip-
â€¢RUSSIAN. TDK
390
â€¢Available from BIANCO LUNOS BOGTRYKKERI, Copenhagen, Denmark.

FOREIGN FACES
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FOREIGN FACES
"Ev&a dfj xal 'IfpiXQaTijt; Â«? Qfatovvia. t-âiwv xal evedQEvad/j^voi;, d/U'-
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TOOOVTOVG &OTE xal roue Aaxedaifiovlovs nQoo&ev oil 6e%6/uevoi els TO reT-
jjoc ol <&foidot,oi, (poflovfiEvoi fifj TOUC (pdoxovras em haxcoviofia) (pevyeiv
xaidyoiev, TOTE oww xaTEJiidyyaav TOVS EX KoQivftov wore fiETEJteftyavro
re rove AaxEdat/uoviovs, xal r/)v Ttohv xal zÂ»)v axgav gw/tdrretv avrou;
naQsdooav. ol /uevroi Aaxsdaijiovtot, XOITIEQ ewoixdj? eôvre? tofg qruydoiv,
oaov %Qovov efyov avrwv Trjv nofav, ovd' s/j,vriofri]aav navxdnaai JIEQI
xa&odov (pvyddaw, dAA' EJtel dvaftaQgrjaai edoxst i\ nohs, i^fjk&ov xal zrjv
nohv xal TOVI; v6fj.ov? naQadovre*; oiavjieQ xal naQ&afiov. ol 8' av nsol
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nQoaefiaMov JTQOC; rd reiyr)' efco yag ol TOW 'Agxadaw onKnai navrdnaoiv
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â€¢GREEK
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â€¢EGYPTIAN HIEROGLYPHICS
396 'Designed and Produced by LETTERGIETERIJ AMSTERDAM.

397
FOREIGN FACES
â€¢EGYPTIAN HIERATIC STYLE
â€¢Deiianed Â»nd Produced by LETTERGIETERIJ AMSTERDAM

hand printed by Bill Weller.

ROMANTIC STYLES
Detail of a wood type display face
using the paper block method and

(sometimes called "Pineapple") re-cut
ROMANTIC STYLES'
48 POINT ART INITIALS
24 POINT ATTIC
24 Attic ATTIg Johnson Type
36 POINT
36
36 POINT CHANCEL
12 POINT CIRCLET
OS
18 POINT FLIRT
18 Flirt Fblf^F Jl Face
24 POINT FLIRT
24 Flirt
36 POINT FLIRT
24 POINT IDEAL
24 POINT KISMET
36 POINT RINGLET
>Â© RiHilefe RI
18 POINT ROMANIC
18 J^
24 POINT ROMANIC
. â€¢â€¢
S4
18 POINT STENCIL GOTHIC
24 POINT WASHINGTON
24 Washington &Â£$
36 POINT LAFAYETTE
36 Lafayette
48 POINT JEFFERSON
48 Jefferson
36 POINT CRAYONETTE OPEN (two-color)
36 POINT CRAYONETTE
36
36 POINT CRAYON
18 POINT COLUMBUS
18 Columbus &$Â£%
18 POINT COLUMBUS OUTLINE
24 POINT COLUMBUS OUTLINE
24 POINT PISA
22 POINT AMALGAMATED SCRIPT
Amalgamated
24 POINT SPINNER SCRIPT
32 POINT PENMAN #2051
44 POINT PENMAN #2054
18 STENCIL GOTHIC
"Type Faces on this page excerpted from "Morgan Press Types" courtesy of Morgan Press, Scarsdale, N. Y.
400
ROMANTIC STYLES'
24 POINT ATHENIAN
28 POINT FRENCH CLARENDON
12 POINT OLD STYLE ATHENIAN EXTENDED
ia O. S.
34 JLTHEXK 28 French ClarendonÂ£&
39 POINT FRENCH CLARENDON EXTRA CONDENSED
35 French Ctak Ei Conkei
48 POINT FRENCH CLARENDON EXTRA CONDENSED
48 French Clarendon Ex.
24 POINT CELTIC
24 CELTIC CELT
39 POINT MONASTIC CONDENSED
18 POINT LITHOGRAPHIC ITALIC #2
1 8 Lilhogvaohio Italic J\T
GRAPHIC ITALIC #2
Lilho
34 POINT LITHOGRAPHIC ITALIC #2
48 POINT GROTESQUE
GROTESO
-I
30 POINT FACADE
30 FACADE IS THE MOST
34 POINT FASHION CONDENSED

34 Fashion Condens
24 POINT FASHION CONDENSED
24 Fashion Condensed FA
17 POINT ARMENIAN EXTENDED
rz
12 POINT ANTIQUE EXTENDED
12
18 POINT OLD STYLE EGYPTIAN
18 Egyptian EGYFTIA
12 POINT FRENCH CLARENDON EXTENDED
12
24 POINT P. T. BARNUM
24P.T.BanramBABJSnTM
24 POINT FRENCH CLARENDON SHADED

28 POINT EGYPTIAN CONDENSED SHADED
tan
48 POINT FRENCH ANTIQUE #110
Fr. Antiq
60 POINT CLARENDON CONDENSED
72 POINT ROMAN EXTRA CONDENSED
27 POINT ANTIQUE #6
27 Antique N 6
40 POINT EXPANDED #3
4O Expa
38 POINT ROMAN EXTRA CONDENSED
18 POINT FRENCH CLARENDON EXTENDED
IS Fren.cli. Clsiren.
'Type Faces on this page excerpted from "Morgan Press Types" courtesy of Morgan Press, Scarsdale, N. Y.
Point
401
ROMANTIC STYLES'
14 POINT CASLON OPEN
14 CASLON OPEN $12345678
48 POINT CURVED ANTIQUE
18 POINT CASLON OPEN
18 CASLON OPEN $1234
16 POINT LIGHTFACE
16 LIGHT FACE $&Â£
14 POINT MERCANTILE
14 POINT MERCANTILE
20 POINT FRENCH OLD STYLE #2
20 French Old Style No. 2
48 Curved Ant.
32 POINT INVERTED SHADE
40 POINT BROADGAGUE SHADED
36 POINT LONGFELLOW
3G Longfellow This Is
36 POINT PROFILE
36 POINT CLEARFACE
36 POINT STEEL PLATE GOTHIC
36 Clearface CL {Â§Â§ f TTIKIL |P|L
36 POINT WEBSTER
36 Webster ABC
22 POINT CONDENSED BLACK
34 POINT ROCCO
Bocco ROCCO
12 POINT EPITAPH
12 EPITAPH IS A FACE THAT HAS A
luwtgluiof t. Condensed flack
28 POINT CONDENSED BLACK #2
Wn&twA flwfe Iiwntg
36 POINT CLOISTER BLACK
24 POINT HERCULES
24 Hercules HER
36 Cloister JSlatk
39 POINT FANCY TEXT (no figures)
42 POINT RUBENS
41!
[antg
27 POINT COPPERPLATE TEXT
72 POINT OTHELLO (no figures)
Othello &
24 POINT GERMAN TITLE
34 POINT GERMAN TITLE
24 POINT COOPER BLACK
24 pt Cooper Blai
36 POINT COOPER BLACK
36 COOPER
Wmimn Xitle 5C
TITLE
(German
35 POINT BLACK ORNAMENTED S532
inre-^xf
|Â§er
'Type Faces on this page excerpted from "Morgan Press Types" courtesy of Morgan Press, Scarsdale. N. Y.
402
ROMANTIC STYLES'
28 POINT MEDIEVAL TEXT
28
28 POINT CONCAVE CONDENSED
18 POINT CONCAVE EXTENDED
18 CONCAVE
12 POINT ORNAMENTED #9
34 POINT MANSARD SHADED
18 POINT QUENTELL
18 ftuentell for QUENTELL-
24 ORNAMENTED &
18 ORNAM
48 POINT HEADLINE BOLD CONDENSED
48 HEADLINE
24 POINT QUAINT OPEN
/fflffT
36 POINT TUSCAN FLORAL (no figures)
27 COND. CONCAVE ISGOOD 36$

24 POINT SOUVENIR
36 POINT UMBRA
UMBRA
36 POINT AURORAL
25 POINT ROMANTIC #3
25 POINT ROMANTIC #1
24 POINT GRAVERS SHADE
24 POINT MAP SHADE
4 MAJP
34 POINT RUSKIN
Vf
21 POINT PHILADELPHIAN
38 POINT RELIEVO #2
24 POINT RIMMED CONDENSED
27 POINT RIMMED CONDENSED
â€¢Type Faces on this page excerpted from "Morgan Press Types" courtesy of Morgan Press, Scarsdale, N. Y.
403
ROMANTIC STYLES'
36 POINT BEN FRANKLIN INITIALS
72 POINT DELLA ROBBIA INITIALS
BO
'*â€¢â€¢*
IN
Nil S
48 POINT DELLA ROBBIA INITIALS (two-color)
fi
48 POINT DELLA ROBBIA INITIALS (two-color)
LOVER
42 POINT INITIALS #426
38 POINT UNIVERSAL INITIALS (two-color)
38 POINT UNIVERSAL INITIALS (two-color)
72 POINT LOTUS INITIALS (two-color)
72 POINT LOTUS INITIALS (two-color)
ft
SCOK*
48 POINT CLOISTER INITIALS
60 POINT BURFORD INITIALS
48 POINT CASLON INITIALS
36 POINT INITIALS #10

30 POINT JENSON INITIALS
'Type Faces on this page excerpted from "Morgan Press Types" courtesy of Morgan Press, Scarsdale, N. Y.
SOURCES OF ILLUSTRATIONS
Pages 2 (left & below), 161.
Courtesy of the American Museum
of Natural History.
Pages 14, 15, 16.
Courtesy of American Type Founders Co., Inc.
Page 83.
Courtesy of Columbia University,
Special Collections Library.
Page 13.
Courtesy of Cooper Union Art Library.
Pages 2 (Above), 5, 136, 191, 261.
Courtesy of The Metropolitan Museum of Art.
Pages?, 9, 10, 11, 106, 185,283.
Courtesy of The Pierpont Morgan Library.
Pages 48, 57.
Courtesy of The New York Public Library.
SOURCES OF TEXT QUOTATIONS
A CONCISE HISTORY OF THE ORIGIN AND
PROGRESS OF PRINTING, Philip Luckombe, London,
1770. Courtesy of The New York Public Library.
From page 228 Caledonia (p. 41)
A DISSERTATION UPON ENGLISH TYPOGRAPHICAL
FOUNDERS AND FOUNDRIES, Edward Rowe Mores,
1778. Courtesy of The New York Public Library.

From page 65 Bookman (pp. 63-5)
Baskerville's preface to PARADISE LOST, John Milton,
Burmingham, England, 1758. Courtesy of Columbia
University, Special Collections Library.
From page 25 Baskerville
FOURNIER ON TYPEFOUNDING; THE TEXT OF THE
MANUALE TYPOGRAPHIQUE (1764-1766), Harry Carter,
London, 1930. Courtesy of The New York Public Library.
From page 103 Century Schoolbook (pp. 289-91)
Giambattista Bodoni â€” To the Reader. G. B. BODONI'S
PREFACE TO THE MANUALE TIPOGRAFICO OF 1818,
H. V. Marrot, London, 1925. Courtesy of
The New. York Public Library.
From page 252 Trad* Gothic

HISTORIC PRINTING TYPES, Theodore L. DeVinne,
1886. Courtesy of Cooper Union Art Library.
From page 115 Future, (pp. 106-7)
From page 202 Welti (pp. 108-9)
Reprinted by permission of the publishers from
PRINTING TYPES, Daniel Berkeley Updike; Cambridge,
Mass.: The Belknap Press of Harvard University Press,
Copyright, 1922,1937,1962, by The President and
Fellows of Harvard College.
From page 231 Cheltenham (p. 16)
From page 235 DeVinne (p. 7)
From page 238 Electro (p. 11)
From page 241 Fairfiold (p. 13)
From page 244 Helvetica (Introduction)
From page 247 Janton (p. 38)
From page 250 Scotch 2 (p. 41)
TYPOGRAPHIA, J. Johnson, Vol. 2; England, 1824.
Courtesy of Cooper Union Museum Library.
From page 170 Akzideni Qratesk (pp. 96-7)
From page 152 News Gothic (p. 6)
From page 192 Times Roman (pp. 89-91)
From page 18 Proofreader's marks (Frontispiece)
Translation of a letter to Mr. Francis Rosaspina
in Bologna by Bodoni, 1813. Courtesy of Columbia
University, Special Collections Library.
From page 36 Bodoni
From a letter to John Baskerville by Benjamin Franklin,
1760. THE WRITINGS OF BENJAMIN FRANKLIN,
A. H. Smyth, MacMillan Co., 1905. Courtesy of
The New York Public Library.
From page 76 Cation

Vt
59 "Â£ 51111
03/99 Q2-M3-â‚¬lÂ«* I
Designed by Ben Rosen
Principal typographer, The Composing Room, Inc.
Additional type and text, York Typesetting Company
Printed by Malliday Lithograph Corporation
Bound by Russell-Rutter Company, Inc.
Text set in 9 point Akzidenz-Grotesk Regular leaded 6 points
Headings set in 9 point Akzidenz-Grotesk Medium
Other credits listed below showings
406

Type and Typography - The Designers Type Book - Ben Rosen

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Type and Typography - The Designers Type Book - Ben Rosen

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Generated for member (Columbia University) on 2012-12-27 17:42 GMT / http://hdl.handle.net/2027/mdp.

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Printed in the United States of America

Library of Congress Catalog Card No 63-19221

This volume, intended as a practical workbook for

the graphic designer, is concerned with type and

It shows carefully selected, complete alphabets of

the best type faces commonly available, or becoming

available, in the United States.

These type faces, together with other relevant mate-

rial, including information on sizes, comparisons of

cuts, recognition traits, photo lettering, photo type

setting, and some romantic and exotic faces are co-

ordinated in a single volume.

The types represented here constitute the de-

signer's basic arsenal of faces. A finely conceived,

drawn and cut group, each face is shown in full alpha-

bet, including numbers and punctuation.

The basic family groups are shown in sizes which

range from 72 point down to 18 or 16 point in foundry

or hand-set type. Within each font of foundry type,

lines are separated by two points of lead or a hairline

mounted on the up side of a 2 point body.

Where practical considerations allowed, the show-

ings include comparative cuts as rendered by differ-

is set by machine in text form. To illustrate various text

A relatively full showing of individual types, plus the

author's freedom to choose from many sources is a

suitable framework in which to assemble a useful col-

lection, selectively chosen for excellence. The type

thus chosen has been set in a manner believed to be

the most useful for readers.

A measure of perspective is provided by a brief look

at the history of type, the origins of type, and its richly

complex traditions. Technical data considered of use

to the designer has also been included.

Special attention is directed to the "Specialists'

Pages" by articulate and inventive practitioners in

various design and technical fields who have con-

tributed comments of interest to every designer.

Each statement, based on many years of experience,

reflects an individual effort to achieve a measure of

beauty and effectiveness while functioning efficiently

under the rapidly-shifting pressures of the dynamic

American economic structure.

This volume attempts to focus on the day-to-day

needs of graphic designers, art directors, industrial

and architectural designers, advertising and promo-

tion personnel, graphics students and many others

concerned with type. It is directed to all those who,

while daily serving in the market place, also do battle

against banality and tastelessness.

A complete type library would include distinguished

books encyclopedic in scale and specifically literary,

historical, or esthetic in their frame of reference.

To round out a broad knowledge of the subject,

typography students will find it to their advantage to

consult the specialized periodicals and publications

which show type in use.

Scholars, typophiles and others who may wish to

pursue this subject further should consult the many

fine works which bear the specialist's stamp.