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Re: Digital Typefaces

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  • Gerald Lange
    Dan A client supplied one of the Storm Czech faces for a project. Wish I could afford a CD of this stuff. I m a sucker for all that Czech Printing Office
    Message 1 of 8 , Mar 20, 2004
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      Dan

      A client supplied one of the Storm Czech faces for a project. Wish I
      could afford a CD of this stuff. I'm a sucker for all that Czech
      Printing Office inspired work.

      The Beatty face is based on von Krimpen's Cancellersca Bastarda. Has a
      1996 copyright on it. That was also the last year I had contact with
      him, and the foundry was still active. Yes, Beatty titled it Romus
      Bastarda. As I recall Beatty didn't do directs. He drew the stuff out
      and corrected by eye. Pretty good eye and hand coordination though.

      Beatty's fonts are a bit scattered, no real collection anywhere that
      I've found. I checked the listings here and noted Phil's Fonts and one
      other at a quick glance. There are a few other more obscure
      distributors that carry his stuff as well. I've got a fairly extensive
      listing (in the Links section here) of the various foundries and
      distributors that carry fonts that might be of technical interest.

      There was supposedly another book coming out on Fontographer last
      summer but I haven't heard if it was ever published. By the fellow who
      used to provide technical support for Fontographer when he was at
      Macromedia. There is also a book forthcoming on FontLab. Last year I
      put together a letterpress configuration sequence for FontLab, like
      the one I did for Fontographer. Had it up for a while in the Files
      section. I'll put it back up if there is interest.

      Yeah, many of the fairly straight reproductions of Linotype, Lanston,
      Ludlow, Monotype faces are useful, and, ahem, you are not the only one
      who has said that before!!! In some cases they can be used straight
      out of the can, but I'd recommend a bit of outline adjustment for most
      of them.

      Don't know why I didn't mention this in the previous post but I should
      have. There is at least one digital typeface that was designed
      specifically for letterpress. dfTYPE's Rialto Pressa. It is a pleasure
      to work with. Did an article for Parenthesis about two years ago when
      I talked about this face as well as optimizing digital type for
      letterpress. Some interesting visuals of the technical features of
      Rialto were presented.

      Gerald


      > Gerald, you mention Storm Type. Have you actually used any of their
      > typefaces? From their specimens, I think they generally capture the
      > spirit of the type -- in fact, they may even exaggerate it somewhat
      > (I'm thinking of Baskerville in particular).
      >
      > You also mention Richard Beatty. I tried to track him down 3 or 4
      > years ago, without success. He obviously had the eye for Goudy's
      > work, and a couple of his faces were used by Stephen Moye in his now
      > out-of-print 'Fontographer: Type by Design'. What is the name of the
      > cancelleresca bastarda that you like so much? Is it Romulus or some
      > such name? Where can one buy this and other Richard Beatty fonts?
      >
      > Many or most of the digital faces created from old Monotype faces by
      > Monotype tend to be spindly, or 'anemic' as you say, and would be
      > excellent choices for letterpress. This has been said before, and not
      > just by me.
      >
      > Dan Franklin
      > Village Typographers
    • Peter Fraterdeus
      If I may mention my own Prospera, I ve found that on the occasion that I ve had a mag plate made with it, I ve been very happy with the result. In fact, as it
      Message 2 of 8 , Mar 20, 2004
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        If I may mention my own Prospera, I've found that on the occasion that I've had a mag plate made with it, I've been very happy with the result.
        In fact, as it was my first complete design, back in the late 80s, I designed it initially to work with 'low-res' (300dpi) output devices. Later I added a slightly emboldened weight (Book) which produces a better color for digital offset. However, the original (Roman) weight is indeed somewhat 'spindly', and has somewhat exaggerated serifs, which also make for a nice lp impression...

        There's a very small glimpse of the face at http://www.alphabets.com/
        and perhaps, if you're lucky, a more substantial preview and pdf, for those willing to dig through an obsolete website somewhere here:
        http://www.alphabets.com/folpdf/AIProspe.pdf

        This nice PDF catalogue was designed in 1996 for Alphabets by Brian Sooy (http://alteredegofonts.com/)
        The sans headings are my Quanta.
        http://www.alphabets.com/folpdf/AIQuanta.pdf

        The Alphabets, Inc (A*I) redrawing of the Fell Oxford types would probably also find some use in letterpress, (Called Marlowe on the Alphabets homepage, my original name was Oberon. Unfortunately, Oberon was already in use, for a frilly, I suppose 'fairy-like', script.The King of the Fairies (in Midsummernights Dream) I don't think of Oberon as frilly!;-) Two optical sizes were drawn from the models taken from the Oxford Catalogue of (?) 1910 or so...)


        I hope the plug is not out of line ;-)
        Best Vernal Wishes!
        Peter

        At 8:13 AM +0000 2004-03-20, Gerald Lange wrote:
        >Dan
        >
        >A client supplied one of the Storm Czech faces for a project. Wish I
        >could afford a CD of this stuff. I'm a sucker for all that Czech
        >Printing Office inspired work.
        >
        >The Beatty face is based on von Krimpen's Cancellersca Bastarda. Has a
        >1996 copyright on it. That was also the last year I had contact with
        >him, and the foundry was still active. Yes, Beatty titled it Romus
        >Bastarda. As I recall Beatty didn't do directs. He drew the stuff out
        >and corrected by eye. Pretty good eye and hand coordination though.
        >
        >Beatty's fonts are a bit scattered, no real collection anywhere that
        >I've found. I checked the listings here and noted Phil's Fonts and one
        >other at a quick glance. There are a few other more obscure
        >distributors that carry his stuff as well. I've got a fairly extensive
        >listing (in the Links section here) of the various foundries and
        >distributors that carry fonts that might be of technical interest.
        >
        >There was supposedly another book coming out on Fontographer last
        >summer but I haven't heard if it was ever published. By the fellow who
        >used to provide technical support for Fontographer when he was at
        >Macromedia. There is also a book forthcoming on FontLab. Last year I
        >put together a letterpress configuration sequence for FontLab, like
        >the one I did for Fontographer. Had it up for a while in the Files
        >section. I'll put it back up if there is interest.
        >
        >Yeah, many of the fairly straight reproductions of Linotype, Lanston,
        >Ludlow, Monotype faces are useful, and, ahem, you are not the only one
        >who has said that before!!! In some cases they can be used straight
        >out of the can, but I'd recommend a bit of outline adjustment for most
        >of them.
        >
        >Don't know why I didn't mention this in the previous post but I should
        >have. There is at least one digital typeface that was designed
        >specifically for letterpress. dfTYPE's Rialto Pressa. It is a pleasure
        >to work with. Did an article for Parenthesis about two years ago when
        >I talked about this face as well as optimizing digital type for
        >letterpress. Some interesting visuals of the technical features of
        >Rialto were presented.
        >
        >Gerald
        >
        >
        >> Gerald, you mention Storm Type. Have you actually used any of their
        >> typefaces? From their specimens, I think they generally capture the
        >> spirit of the type -- in fact, they may even exaggerate it somewhat
        >> (I'm thinking of Baskerville in particular).
        >>
        >> You also mention Richard Beatty. I tried to track him down 3 or 4
        > > years ago, without success. He obviously had the eye for Goudy's
        >> work, and a couple of his faces were used by Stephen Moye in his now
        >> out-of-print 'Fontographer: Type by Design'. What is the name of the
        >> cancelleresca bastarda that you like so much? Is it Romulus or some
        >> such name? Where can one buy this and other Richard Beatty fonts?
        >>
        >> Many or most of the digital faces created from old Monotype faces by
        >> Monotype tend to be spindly, or 'anemic' as you say, and would be
        >> excellent choices for letterpress. This has been said before, and not
        >> just by me.
        >>
        >> Dan Franklin
        >> Village Typographers
        >
        >
        >
        >
        >
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        --
        AzByCx DwEvFu GtHsIr JqKpLo MnNmOl PkQjRi ShTgUf VeWdXc YbZa&@

        Peter Fraterdeus http://www.fraterdeus.com

        http://www.semiotx.com Web Strategy Consulting
        "Words that work."(tm) Communication Design and Typography
      • Paul W Romaine
        This isn t a direct response to the original inquiry but just to note that there are two books, Indie Fonts 1 and Indie Fonts 2, displays of types from
        Message 3 of 8 , Mar 20, 2004
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          This isn't a direct response to the original inquiry but just to note
          that there are two books, Indie Fonts 1 and Indie Fonts 2, displays of
          types from independent foundries. (http://www.p22.com/indiefonts/)
          Storm Type has some displays in the second volume.

          As a side note, I see that P22 has issued a digital version of Fred
          Goudy's "Aries" face, which he cut as a proprietary type for the
          private press printer Spencer Kellogg and his "Aries" Press. (It was
          later revised for the Grabhorn Brothers and recut as "Franciscan.")
          I'm intrigued that the set is issued with two decorative fonts: "one
          font of 52 decorative Ornaments & one font that contains 52
          Ampersands." http://www.p22.com/products/goudy.html

          I think Rich Kegler, proprietor of P22, is a member of this list.
          Rich: are these based on the ampersands that Goudy drew for _Diggings
          from Many Ampersandhogs_ (NY: Typophiles, 1936)?

          Paul
          Co-Moderator
        • Richard Kegler
          ... I was unaware of this book (but what an amazing title). The P22 Goudy Ampersands were based on drawings from a few different sources but primarily the 1944
          Message 4 of 8 , Mar 21, 2004
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            > Rich: are these based on the ampersands that Goudy drew for _Diggings
            > from Many Ampersandhogs_ (NY: Typophiles, 1936)?
            >
            I was unaware of this book (but what an amazing title). The P22 Goudy
            Ampersands were based on drawings from a few different sources but primarily
            the 1944 Typophiles Type Design & Typography Vol.2

            RK
          • Paul W Romaine
            Rich, Thanks for the response. The ampersands are nice, but... Goudy drew an interesting series of ampersands for Diggings that showed the historical
            Message 5 of 8 , Mar 21, 2004
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              Rich,

              Thanks for the response. The ampersands are nice, but... Goudy drew an
              interesting series of ampersands for "Diggings" that showed the
              historical development of the ampersand. The same volume I think has a
              serious essay by Lehmann-Haupt and one or two other things. Most of
              the contributions were mock-serious or comic. The early Typophiles
              books in the 1930s, all rather rare, are assemblages from different
              printers, on different stock. I think there were 120 copies of
              "Diggings." I'm certain there's a copy at Rochester Institute of
              Technology's Cary Collection. (Heck, the Cary Collection may even have
              Goudy's engravings for the ampersands.) The early Typophile books are
              quite often a lot of fun. The Typophiles bibliography is online (not
              complete) here: http://www.typophiles.org/fsbibliography.html

              Their most important book is probably Janet Ing, _Johann Gutenberg and
              his Bible_ (1988, still in print). My favorite is the 2-vol Knopf book
              of writings from the 1950s (o.p.). Oak Knoll distributes for them.

              Sorry to fall into "Reference Librarian" mode.

              Paul
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