171:
458:(who with George Buday made the modern attribution to Kis) wrote that "the letters of Monotype Ehrhardt are like those of the Janson, but the appearance of a page set in it is different. The Janson is more rotund and has greater contrast of thick and thin." Writing in the 1970s, Carter had misgivings about the condensation, saying that it came close to turning Kis's work into an "accurate drudge" but that "it is a successful type-face". He also suggested that some condensed typefaces made by Kis and sold to the Ducal printing establishment in Florence might have made for a more authentic model. Printing historian
282:, who could print books from them using hand-set type cast from surviving original matrices owned by the Stempel company of Germany. Morison had discussed what he knew of their history with Updike in their extensive correspondence from the 1920s onwards. Modernised versions of the Janson designs for hot metal printing were being created by Linotype and Monotype's American branch at the same time. In addition, Morison was interested in the history of printing in Leipzig, a centre of the German book trade, and would later write an article on the topic.
366:, led by Fritz Steltzer, the project veered away from a purely faithful revival towards a denser, more condensed design. This differentiated it from the other Janson revivals on the market. Nicholas commented "I think it was Morison's take on Janson - made a little heavier and narrower to give improved legibility and economy." Typesetting expert Yannis Haralambous wrote of being told by a Monotype manager that the typeface was designed particularly for sale in Germany "to appeal to those who have a weakness for
286:
332:
3358:
344:
551:
40:
435:
Ehrhardt attracted considerable attention on its initial release; Monotype's publicity material blurbed it as "in the opinion of some authorities, the most important new book face since Times New Roman". However
Ehrhardt remains considerably less well-known than many of Monotype's other classic serif
306:
from large plan drawings. This gave a cleaner result than historic typefaces whose master punches had been hand-carved out of steel at the exact size of the desired letter. It also allowed rapid development of a large range of sizes with the same consistent style of letter in all of them, although in
584:
created a revival of
Ehrhardt called Equity, whose design was inspired by his experiences of office needs from working as a lawyer. Equity has two grades designed to suit different types of paper and printers, known as Equity A and Equity B, the former of which is darker. Each grade has two weights
533:
and bold italic (called a semi-bold in some digitisations) to match the roman and italic of the original release. (True bold type did not exist in Kis's time.) Released in 1967, Fleet
Titling was a capitals-only alphabet intended to serve as a companion for titling use. It was created by Monotype's
1968:
That it was
Pierpont himself who was central to this drive for quality is made abundantly clear by the abrupt changes that are seen after his retirement in 1937. All the types produced during the brief period before the Second World War, although they naturally have many fine features, are more or
327:
letterforms introduced in the eighteenth and nineteenth centuries was being displaced by a revival of interest in "old-style" serif fonts developed before this, a change that has proved to be lasting. At the same time, hot metal typesetting had imposed new restrictions: in
Monotype's system (while
1915:
The crisp, relatively narrow and extraordinarily 'large appearing' style of letter which the
Monotype corporation revived and named Ehrhardt is, in the opinion of some authorities, the most important new book face since Times New Roman, and it has already been chosen for a number of noteworthy
378:
well, and
Morison in his article on Leipzig printing suggested that this might have been a motivation behind the original's design style. Ehrhardt's technical production followed Monotype's standard method of the period. The characters were drawn on paper in large plan diagrams by the highly
379:
experienced drawing office team, led and trained by
Steltzer, who Monotype had recruited from the German printing industry. The drawing staff who executed the design was disproportionately female and in many cases recruited from the local area and the nearby
328:
less restrictive than
Linotype's), in order to mechanically count the number of characters that could be fitted on a line, letters could only be certain widths, and care was needed to produce letters that looked harmonious in spite of this.
293:
from large working drawings and intermediate copper patterns and used to cast type under the control of a keyboard. This gave much cleaner results than punches of Kis's time, which had to be hand-carved at the size of the desired
388:-pantographs. It was Monotype's standard practice at the time to first engrave a limited number of characters and print proofs from them to test overall balance of colour on the page, before completing the remaining characters.
1973:
is crudely drawn by comparison with the original type…Ehrhardt is also crudely drawn compared with its predecessors, and its incongruous figures - which are quite wrong for its place and period - were adapted from those of
643:, now widely suspected to have fabricated research. The assessment claimed that readers liked it least of all old-style faces surveyed, noting its unusual italic 'w' and text figure 0 in the form of an unstressed circle.
319:). Both allowed metal type to be quickly cast under the control of a keyboard, eliminating the need to manually cast metal type and slot it into place into a printing press. With no need to keep type in stock, just the
466:, described the original metal type as "crudely drawn" compared with some earlier Monotype designs, and suggested that this was due to a change in works management at Monotype with the retirement of head engineer
542:. This alphabet system, intended to be used to teach children to read, used alternative characters for different sounds spelled with the same letter, like t's and c's dropped below the baseline of the text.
395:, in 1938 with an unsigned blurb in what Carter would later call "the accents of Morison". Morison's article on the history of printing in Leipzig would later be typeset in it and it was also used to set a
383:
art school. A wax-copy was made from these drawing, the wax-copy was used to produce a lead plate with the design. These plates were then used as a plan for machining metal punches to stamp matrices in the
307:
fact the design was adjusted to produce a clear image at different sizes, for instance by widening the letters and spacing and increasing the x-height. In addition, hand printing had been superseded by the
323:
used as moulds to cast the type, printers could use a wider range of fonts and there was increasing demand for varied typefaces. Artistically, meanwhile, the preference for using mechanical, geometric
162:
From 1937 to 1938, Monotype re-cut the type for modern-day usage, and it has become a popular book typeface. Ehrhardt has a slightly condensed design, giving it a strongly vertical, crisp appearance.
407:
Distinctive features of
Ehrhardt include an 'A' with gently curving bar matching the centre-link of the 'B', a wide 'T' with spreadeagled serifs on either side and a 'b' with no foot on the left. In
574:(in the roman style only). Like several other Monotype typefaces digitised in the early period of computerised publishing, it is sold under two releases credited both to Monotype itself and to
1886:
The page set in Monotype Ehrhardt, a compact fount with short descenders ... to accommodate the maximum possible amount of text matter consistent with the degree of legibility necessary
200:, an engraver of the punches used as a master for making moulds for metal type, working on commission for printers and governments. Kis returned to Transylvania around 1689 and may have left
196:
for the Netherlands and a time when its styles of printing were very influential across Europe, making it a centre for the creation of new typefaces. He developed a second career as a
298:
Ehrhardt's development took place following a series of breakthroughs in printing technology which had occurred over the last fifty years without breaking from the use of metal type.
262:. Kis's identity as the maker of the typefaces was rediscovered by comparison with type from Hungarian archive sources (including an autobiography) on which his name was identified.
1025:
1012:, and in cut belong to the 17th century. Their provenance I do not know. Although heavy, they retain considerable vivacity of line and have great capabilities when used with taste.
630:
This is a slight simplification: technically the mould is the term used for the frame around which a sort is cut. However, the matrix is the mould for the variable part of a sort.
351:
Monotype developed a revival of the Ehrhardt typefaces using a rediscovered specimen sheet as a source, while simultaneously also working on Van Dijck, a revival of the work of
192:
pastor and schoolteacher, became deeply interested in printing after being sent to Amsterdam to help print a Hungarian Protestant translation of the Bible. This was a period of
1707:
This typeface was destined primarily for the German market. According to a manager at Monotype, "this typeface was designed to appeal to those who have a weakness for Fraktur."
538:
designer who also worked as a private printer. Monotype used it for their logo and letterhead. More oddly, Monotype in the 1960s used Ehrhardt as a base for printing in the
355:(d. 1669), a slightly earlier Dutch Baroque punch-cutter. Ehrhardt's original working title was 'Old Holländische', according to veteran Monotype designer Robin Nicholas.
3388:
258:, based in Leipzig, who it was once believed might have created them, and Linotype's revival of the same designs in a less condensed form accordingly is named
2606:
204:(the moulds used to cast type) in Leipzig on his way home. The Ehrhardt type foundry of Leipzig released a surviving specimen sheet of them around 1720.
639:
An assessment of Ehrhardt was (apparently) made as part of a programme of assessing common book faces for educational use by controversial psychologist
335:
Roman types from the Ehrhardt specimen used as a source by Monotype. The larger sizes are more condensed than the smaller ones on which Ehrhardt and
3393:
2255:
578:, the latter only in the standard version without small caps. Fleet Titling and the Initial Teaching Alphabet version have not been digitised.
178:) in 1697, after his return to Transylvania. It defends his somewhat contentious choices of editing and orthography in his Hungarian printing.
2213:
2139:
2061:
2009:
1700:
1478:
1252:
1202:
1166:
937:
829:
802:
773:
1036:
207:
Kis's typefaces were in the tradition of Dutch and German printing developed over the previous century that would later be called the "
3378:
960:
247:
1720:
1822:
1675:
1639:
170:
2599:
278:. It began from a recognition that the Janson designs were well-respected by fine printers of the Arts and Crafts period such as
728:
289:
A composition case (not showing Ehrhardt) used to cast metal type on a Monotype machine. The matrices were formed using punches
2635:
492:
2182:
2280:
316:
2997:
1032:
371:
3383:
2592:
415:
on the left. The face has high stroke contrast (difference between thick and thin strokes) by the standards of most
1873:
535:
474:
455:
182:
156:
1799:
and at the same time conserves space. These advantages give wide scope for ... much of the bookwork of today.
1197:(Paperback reissue, digitally printed version ed.). Cambridge: Cambridge University Press. pp. 149–170.
852:
539:
1342:
585:(Regular and Bold), along with their respective italics, totalling four styles each. The typeface has separate
59:
2388:
884:
227:
with a smooth, even structure and 'e' with a level cross-stroke, by increasing the stroke width, boosting the
1507:
1009:
1091:
3020:
2857:
986:
279:
270:
Monotype's development of Ehrhardt took place under the influence of executive and historian of printing
467:
352:
308:
216:
149:
2563:
1157:
Heiderhoff, Horst (1988). "The Rediscovery of a Type Designer: Miklos Kis". In Bigelow, Charles (ed.).
607:
also created the very large revival family Kis. Unlike other digitisations, this has been released in
3238:
3162:
3126:
2947:
411:
the 'J' has a crossbar, the 'w' has sharp reverse curves towards the top and left, and the 'v' has a
243:
88:
3248:
3138:
3067:
2973:
2911:
2816:
2785:
2742:
2664:
1986:) and their failure to match the delicate serif treatment of the type itself is painfully apparent.
795:
E codicibus impressisque : opstellen over het boek in de Lage landen voor Elly Cockx-Indestege
441:
324:
3213:
3011:
2967:
2956:
2902:
2845:
2804:
2800:
2780:
2757:
2679:
1983:
412:
2001:
Books & Bits: Texts & Technology, 1970–2000, from A Companion to the History of the Book
597:
features. The roman style of Equity is designed to be metrically similar (but not identical) to
2312:
2035:
Ehrhardt, the default typeface for OWCs, has a very hairy asterisk that fills in at small sizes
1757:
1405:
3332:
3267:
3156:
3103:
2988:
2979:
2736:
2714:
2630:
2417:
2209:
2135:
2086:
2057:
2005:
1999:
1818:
1696:
1671:
1635:
1540:
1474:
1417:
1248:
1198:
1190:
1162:
1061:
933:
825:
798:
790:
769:
763:
612:
581:
555:
479:
320:
201:
2100:
1928:
Burt, Cyril; Cooper, W. F.; Martin, J. L. (May 1955). "A Psychological Study of Typography".
1867:
1629:
1242:
996:
819:
3316:
3151:
3097:
3061:
2828:
2615:
2287:
1937:
1292:
1223:
1069:
964:
929:
859:
593:, although the latest versions also include main font files that can activate small caps as
385:
193:
133:
2929:
2890:
2863:
2851:
2685:
1731:
1338:
598:
518:
500:
437:
312:
275:
271:
224:
1008:
A headline...reads "Real Dutch Types"...These fonts resemble those given by Fell to the
566:
font formats. It is sold in standard and professional releases, some releases including
3338:
3272:
2128:
1941:
1812:
653:
590:
285:
2532:
2156:
1838:
1779:
1376:
1313:
3372:
3182:
3079:
2079:
1795:
pleasing degree of condensation ... gives increased legibility by its increased
1664:
1465:
1461:
990:
740:
608:
575:
219:
in the next century. This developed the influence of French typefounding such as the
2574:
2445:
3277:
2644:
2527:
2392:
2308:
2026:
1955:
1625:
1227:
1087:
922:
880:
709:
567:
513:
of the typeface also exists, which can be seen in the American edition of the book
459:
255:
197:
186:
153:
141:
83:
1116:
1073:
2338:
2051:
1959:
1898:
1869:
The New Cambridge Bibliography of English Literature, Volume 3; Volumes 1800–1900
1544:
140:
of "stout Dutch character" from the Dutch Baroque tradition sold by the Ehrhardt
17:
3344:
2720:
2542:
2496:
2449:
2362:
2229:
604:
488:
408:
396:
375:
367:
331:
236:
208:
175:
73:
1218:
Buday, George (1974). "Some More Notes on Nicholas Kis of the 'Janson' Types".
680:
550:
343:
3243:
3025:
2822:
2726:
2673:
2579:
2470:
1975:
1501:
1499:
1497:
1435:
640:
611:, with a separate display-size font intended for headlines. It is used by the
586:
571:
505:
424:
299:
189:
137:
39:
2547:
2421:
1421:
656:
and its Russian licensee Paratype; it is reportedly based on Linotype Janson.
254:. They were earlier often called the Janson designs, after the Dutch printer
2962:
2794:
1970:
1296:
1283:
Ovink, G. Willem (1 January 1973). "Two Books on Stanley Morison (review)".
1142:
Heiderhoff, Horst (1984). "The Rediscovery of a Type Designer: Miklos Kis".
530:
303:
290:
251:
232:
374:
in Germany in the 1930s). In its dense design it may be able to complement
2233:
1159:
Fine Print on Type: the best of Fine Print magazine on type and typography
2702:
1796:
594:
563:
445:
359:
228:
220:
47:
2552:
1600:
1574:
1399:
1397:
3132:
1184:
1182:
1180:
1178:
420:
380:
145:
2045:
2043:
3188:
2763:
2708:
2584:
1195:
Selected essays on the history of letterforms in manuscript and print
363:
336:
259:
106:
729:"The Transylvanian Phoenix: the Kis-Janson Types in the Digital Era"
601:, while the metric of the italic style is considerably different.
391:
The finished design was first displayed in Monotype's journal, the
3282:
3233:
3176:
2810:
2730:
2134:(1st Dragonfly Books ed.). New York, N.Y.: Crown Publishers.
1979:
1515:
549:
449:
416:
342:
330:
284:
169:
129:
126:
64:
52:
2256:"John Peters, some further thoughts, especially on Fleet Titling"
1695:(1st ed.). Sebastopol, Calif.: O'Reilly Media. p. 381.
1366:
Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.
510:
2588:
920:
Morison, Stanley; Carter, Harry (1973). "Chapter 8: Ehrhardt".
231:(height of lower-case letters) and reducing the length of the
1308:
1306:
989:(1922). "Chapter 15: Types of the Netherlands, 1500-1800".
791:"The bindings of books printed by Miklos Misztotfalusi Kis"
2056:. Iowa City: University of Iowa Press. pp. 129, 156.
1903:
Signature: A Quadrimestrial of Typography and Graphic Arts
1270:
Stanley Morison & D.B. Updike: Selected Correspondence
675:
673:
671:
315:
was one of the most popular (in competition with that of
615:
but (as of 2015) has not been released for online sale.
992:
Printing Types: Their History, Forms and Uses: Volume 2
652:
Another design named Kis has been offered for sale by
562:
Monotype has digitised Ehrhardt into the TrueType and
554:
A sample of unofficial Ehrhardt revival 'Equity', by
3361:
Dates are approximate only. Not all typefaces shown.
1978:. Similarly, the figures for Van Dijck are those of
159:
while in Amsterdam in the period from 1680 to 1689.
3325:
3306:
3257:
3223:
3200:
3119:
3051:
3037:
2838:
2695:
2657:
2623:
1247:(2nd ed.). London: Laurence King. p. 65.
174:A book printed by Kis in Claudiopolis (modern name
112:
102:
94:
82:
72:
58:
46:
2127:
2078:
1663:
1535:
1533:
928:. Cambridge: Cambridge University Press. pp.
921:
915:
913:
911:
909:
907:
905:
903:
901:
768:(1st ed.). Boston: Godine. pp. 158–168.
1191:"Chapter 8: Leipzig as a Centre of Type-Founding"
358:Developed by the Monotype drawing office team in
2497:"Bitstream Kis (Paratype release with Cyrillic)"
242:Kis's surviving matrices were first acquired by
2004:. Hoboken: John Wiley & Sons. p. 381.
1467:Modern Typography: an essay in critical history
132:typeface released by the British branch of the
1780:"Typographic Problems of the Illustrated Book"
302:engraving had allowed punches to be precisely
274:, not long after their successful creation of
2600:
2566:(an account of an alternative German revival)
2528:Printed specimen from original hot metal type
1982:(which in their turn seem to be derived from
1817:. Trustees of the British Museum. p. 2.
1161:. San Francisco: Fine Print. pp. 74–80.
8:
2533:Monotype Recorder from 1949, set in Ehrhardt
1473:(2nd ed.). London: Hyphen. p. 79.
1404:Bigelow, Charles; Seybold, Jonathan (1981).
1314:"Monotype matrices and moulds in the making"
370:" (blackletter or 'Gothic' typefaces, still
246:, and are now held in the collection of the
136:in 1938. Ehrhardt is a modern adaptation of
32:
704:
702:
215:), a term originating from the writings of
3357:
2607:
2593:
2585:
1964:Journal of the Printing Historical Society
714:Journal of the Printing Historical Society
473:Notable books set in Ehrhardt include the
38:
1930:British Journal of Statistical Psychology
1861:
1859:
1634:. David R. Godine Publisher. p. 39.
824:. Rotterdam: 010 Publishers. p. 25.
1631:Letters of Credit: A View of Type Design
436:designs of the interwar period, such as
2543:Ehrhardt typeface family at MyFonts.com
1406:"Technology and the aesthetics of type"
667:
623:
534:occasional collaborator John Peters, a
419:serif fonts. In order to allow compact
347:Italic types from the Ehrhardt specimen
3389:Typefaces and fonts introduced in 1938
2208:. London: Laurence King. p. 146.
1916:publications in England and in America
546:Digitisations and alternative versions
31:
1241:Haslam, Andrew; Baines, Phil (2005).
797:. Leuven: Peeters. pp. 149–170.
712:(1983). "The Types of Nicholas Kis".
7:
1811:Barr, John, ed. (1971). "Colophon".
995:. Harvard University Press. p.
3030:Palace and Dorchester Script (1938)
2667:(1911) and Italian Old Style (1919)
2053:Aspects of contemporary book design
1719:Rhatigan, Daniel (September 2014).
1272:. Scolar Press. pp. 24–5, etc.
963:. Rietveld Academie. Archived from
2313:"The Readability of Type (letter)"
1942:10.1111/j.2044-8317.1955.tb00160.x
25:
1506:Daniels, Simon; Nicholas, Robin.
1064:(1939). "The 'Goût Hollandois'".
3356:
2575:Van Dijck specimen in metal type
1601:"A long, passionate Kis, Part 2"
1575:"A long, passionate Kis, Part 1"
1268:McKitterick, David, ed. (1979).
311:systems of the period, of which
1193:. In McKitterick, David (ed.).
1092:"The materials of typefounding"
235:to achieve a noticeably darker
157:MiklĂłs (Nicholas) TĂłtfalusi Kis
3394:Typefaces with infant variants
2580:Van Dijck as a digital release
2559:On other Kis/Janson revivals:
1508:"Comments on Typophile thread"
1026:"Type and its Uses, 1455-1830"
961:"Ehrhardt Specimen Book image"
1:
2281:"Schriftdesigner John Peters"
2085:. New York, Praeger. p.
1839:"Fifty Years of Type-Cutting"
399:on his work after his death.
2157:"Stanley Morison, 1889–1967"
2027:"Making notes user-friendly"
1691:Haralambous, Yannis (2007).
1670:. Harvard University Press.
1228:10.1093/library/s5-XXIX.1.21
1033:Institute of English Studies
789:Rozsondai, Marianne (2004).
509:magazine. An extremely rare
462:review of Morison's memoir,
427:were kept reasonably short.
2555:(as of 2015 no online sale)
2548:Butterick's revival, Equity
1814:Stanley Morison: a portrait
1074:10.1093/library/s4-XX.2.180
499:. It has also been used by
3410:
2896:Zarotto/Mardersteig (1932)
2101:"Fonts in use: The Iconic"
1960:"Review: A Tally of Types"
1874:Cambridge University Press
762:Lawson, Alexander (1990).
739:(1): 61–76. Archived from
727:Stauffacher, Jack (1985).
681:"Ehrhardt (Adobe release)"
589:fonts intended for use in
536:Cambridge University Press
3379:Old style serif typefaces
3354:
2126:Burningham, John (1994).
1730:(28): 3–7. Archived from
1189:Morison, Stanley (2009).
885:Hoefler & Frere-Jones
540:Initial Teaching Alphabet
529:Monotype later created a
37:
2641:French Round Face (1906)
2538:Ehrhardt digitisations:
2204:Macmillan, Neil (2006).
2081:A Chronology of Printing
2050:Hendel, Richard (2013).
1966:. 3, new series: 63–67.
1866:Watson; William (1969).
1662:Barker, Nicolas (1972).
818:Middendorp, Jan (2004).
148:. These were cut by the
2951:(for the Greynog Press)
1297:10.1163/157006973X00237
987:Updike, Daniel Berkeley
475:Oxford World's Classics
194:considerable prosperity
150:Hungarian-Transylvanian
2389:Porchez, Jean François
2337:Haas, William (1969).
2130:Hey! get off our train
1969:less flawed. Monotype
1758:"Time and Times again"
1721:"Gill Sans after Gill"
1068:. s4-XX (2): 180–196.
559:
515:Hey! Get off Our Train
497:Methods of Book Design
348:
340:
295:
280:Daniel Berkeley Updike
250:(Museum of Printing),
179:
2983:(for R & R Clark)
2340:Alphabets for English
2206:A-Z of type designers
2077:Clair, Colin (1969).
1693:Fonts & encodings
1244:Type & typography
765:Anatomy of a Typeface
553:
468:Frank Hinman Pierpont
353:Christoffel van Dijck
346:
334:
309:hot metal typesetting
288:
217:Pierre Simon Fournier
173:
166:Historical background
2926:Felix Titling (1934)
2503:. Paratype/Bitstream
2426:Practical Typography
1552:Practical Typography
1343:"Printing the Times"
403:Distinctive features
134:Monotype Corporation
89:Monotype Corporation
3210:News Plantin (1979)
2767:(1926, private use)
2363:"Monotype Ehrhardt"
2183:"Bold type in text"
1998:Luna, Paul (2011).
1737:on 15 February 2015
1518:on January 23, 2015
1377:"Facts about Bembo"
967:on 10 December 2015
743:on 30 December 2017
485:Pelican Shakespeare
34:
3384:Monotype typefaces
2748:Goudy Heavy (1925)
2670:Forum Title (1911)
2650:Goudy Light (1908)
2418:Butterick, Matthew
2031:Luna's Cafe (blog)
1541:Butterick, Matthew
1410:The Seybold Report
1222:. s5-XXIX: 21–35.
560:
349:
341:
296:
221:typefaces engraved
180:
3366:
3365:
3333:Classic Grotesque
3192:(general release)
3107:(general release)
2998:Twentieth Century
2737:Italian Old Style
2215:978-1-85669-395-0
2164:Monotype Recorder
2141:978-0-517-88204-7
2063:978-1-60938-175-2
2011:978-1-4443-5658-8
1846:Monotype Recorder
1787:Monotype Recorder
1702:978-0-596-10242-5
1545:"Equity specimen"
1480:978-0-907259-18-3
1384:Monotype Recorder
1321:Monotype Recorder
1254:978-1-85669-437-7
1204:978-0-521-18316-1
1168:978-0-9607290-2-9
1042:on 9 October 2016
939:978-0-521-09786-4
831:978-90-6450-460-0
804:978-90-429-1423-0
775:978-0-87923-333-4
613:Los Angeles Times
582:Matthew Butterick
556:Matthew Butterick
493:Hugh Williamson's
480:New English Bible
393:Monotype Recorder
120:
119:
18:Equity (typeface)
16:(Redirected from
3401:
3360:
3359:
3293:Strayhorn (1995)
3264:Ellington (1990)
3167:Albertina (1964)
3146:(public release)
3094:Mercurius (1957)
3091:Castellar (1957)
3062:Festival Titling
3008:Van Dijck (1937)
2934:Van Dijck (1935)
2791:Pastonchi (1928)
2754:Horley Old Style
2609:
2602:
2595:
2586:
2513:
2512:
2510:
2508:
2493:
2487:
2486:
2484:
2482:
2467:
2461:
2460:
2458:
2456:
2442:
2436:
2435:
2433:
2432:
2414:
2408:
2407:
2405:
2403:
2385:
2379:
2378:
2376:
2374:
2359:
2353:
2352:
2350:
2348:
2334:
2328:
2327:
2325:
2323:
2309:Pitman MP, James
2305:
2299:
2298:
2296:
2294:
2288:Klingspor Museum
2285:
2277:
2271:
2270:
2268:
2266:
2251:
2245:
2244:
2242:
2240:
2226:
2220:
2219:
2201:
2195:
2194:
2192:
2190:
2178:
2172:
2171:
2161:
2152:
2146:
2145:
2133:
2123:
2117:
2116:
2114:
2112:
2097:
2091:
2090:
2084:
2074:
2068:
2067:
2047:
2038:
2037:
2022:
2016:
2015:
1995:
1989:
1988:
1952:
1946:
1945:
1925:
1919:
1918:
1912:
1910:
1895:
1889:
1888:
1883:
1881:
1863:
1854:
1853:
1843:
1835:
1829:
1828:
1808:
1802:
1801:
1793:(2): 4–7. 1938.
1784:
1776:
1770:
1769:
1767:
1765:
1753:
1747:
1746:
1744:
1742:
1736:
1725:
1716:
1710:
1709:
1688:
1682:
1681:
1669:
1659:
1653:
1652:
1650:
1648:
1622:
1616:
1615:
1613:
1611:
1596:
1590:
1589:
1587:
1585:
1570:
1564:
1563:
1561:
1559:
1549:
1537:
1528:
1527:
1525:
1523:
1514:. Archived from
1503:
1492:
1491:
1489:
1487:
1472:
1458:
1452:
1451:
1449:
1447:
1432:
1426:
1425:
1401:
1392:
1391:
1381:
1373:
1367:
1364:
1358:
1357:
1355:
1353:
1339:Morison, Stanley
1335:
1329:
1328:
1318:
1310:
1301:
1300:
1280:
1274:
1273:
1265:
1259:
1258:
1238:
1232:
1231:
1215:
1209:
1208:
1186:
1173:
1172:
1154:
1148:
1147:
1139:
1133:
1132:
1130:
1128:
1123:. Adobe/Linotype
1113:
1107:
1106:
1104:
1102:
1084:
1078:
1077:
1058:
1052:
1051:
1049:
1047:
1041:
1035:. Archived from
1030:
1021:
1015:
1014:
1005:
1003:
983:
977:
976:
974:
972:
957:
951:
950:
948:
946:
927:
924:A Tally of Types
917:
896:
895:
893:
891:
877:
871:
870:
868:
866:
860:Klingspor Museum
857:
849:
843:
842:
840:
838:
815:
809:
808:
786:
780:
779:
759:
753:
752:
750:
748:
733:Visible Language
724:
718:
717:
706:
697:
696:
694:
692:
687:. Monotype/Adobe
677:
657:
650:
644:
637:
631:
628:
464:A Tally of Types
42:
35:
21:
3409:
3408:
3404:
3403:
3402:
3400:
3399:
3398:
3369:
3368:
3367:
3362:
3350:
3321:
3302:
3290:Columbus (1992)
3253:
3219:
3196:
3115:
3058:Condensa (1951)
3047:
3033:
2992:(for J.M. Dent)
2930:Tempest Titling
2899:Monoline Script
2891:Times New Roman
2852:Ashley Crawford
2834:
2739:(Goudy, 1924/7)
2691:
2686:Caslon Old Face
2653:
2647:(1907 and 1920)
2619:
2613:
2521:
2516:
2506:
2504:
2495:
2494:
2490:
2480:
2478:
2471:"Bitstream Kis"
2469:
2468:
2464:
2454:
2452:
2444:
2443:
2439:
2430:
2428:
2416:
2415:
2411:
2401:
2399:
2393:"Equity review"
2387:
2386:
2382:
2372:
2370:
2361:
2360:
2356:
2346:
2344:
2336:
2335:
2331:
2321:
2319:
2307:
2306:
2302:
2292:
2290:
2283:
2279:
2278:
2274:
2264:
2262:
2253:
2252:
2248:
2238:
2236:
2228:
2227:
2223:
2216:
2203:
2202:
2198:
2188:
2186:
2180:
2179:
2175:
2159:
2154:
2153:
2149:
2142:
2125:
2124:
2120:
2110:
2108:
2099:
2098:
2094:
2076:
2075:
2071:
2064:
2049:
2048:
2041:
2024:
2023:
2019:
2012:
1997:
1996:
1992:
1954:
1953:
1949:
1927:
1926:
1922:
1908:
1906:
1897:
1896:
1892:
1879:
1877:
1865:
1864:
1857:
1841:
1837:
1836:
1832:
1825:
1810:
1809:
1805:
1782:
1778:
1777:
1773:
1763:
1761:
1756:Rhatigan, Dan.
1755:
1754:
1750:
1740:
1738:
1734:
1723:
1718:
1717:
1713:
1703:
1690:
1689:
1685:
1678:
1666:Stanley Morison
1661:
1660:
1656:
1646:
1644:
1642:
1624:
1623:
1619:
1609:
1607:
1598:
1597:
1593:
1583:
1581:
1572:
1571:
1567:
1557:
1555:
1547:
1539:
1538:
1531:
1521:
1519:
1505:
1504:
1495:
1485:
1483:
1481:
1470:
1460:
1459:
1455:
1445:
1443:
1434:
1433:
1429:
1403:
1402:
1395:
1379:
1375:
1374:
1370:
1365:
1361:
1351:
1349:
1337:
1336:
1332:
1316:
1312:
1311:
1304:
1282:
1281:
1277:
1267:
1266:
1262:
1255:
1240:
1239:
1235:
1217:
1216:
1212:
1205:
1188:
1187:
1176:
1169:
1156:
1155:
1151:
1141:
1140:
1136:
1126:
1124:
1115:
1114:
1110:
1100:
1098:
1086:
1085:
1081:
1060:
1059:
1055:
1045:
1043:
1039:
1028:
1024:Mosley, James.
1023:
1022:
1018:
1001:
999:
985:
984:
980:
970:
968:
959:
958:
954:
944:
942:
940:
919:
918:
899:
889:
887:
879:
878:
874:
864:
862:
855:
851:
850:
846:
836:
834:
832:
817:
816:
812:
805:
788:
787:
783:
776:
761:
760:
756:
746:
744:
726:
725:
721:
708:
707:
700:
690:
688:
679:
678:
669:
665:
660:
651:
647:
638:
634:
629:
625:
621:
599:Times New Roman
548:
527:
519:John Burningham
501:Faber and Faber
433:
405:
276:Times New Roman
272:Stanley Morison
268:
225:Claude Garamond
213:goût hollandois
168:
103:Design based on
67:
28:
23:
22:
15:
12:
11:
5:
3407:
3405:
3397:
3396:
3391:
3386:
3381:
3371:
3370:
3364:
3363:
3355:
3352:
3351:
3349:
3348:
3342:
3336:
3329:
3327:
3323:
3322:
3320:
3319:
3314:
3310:
3308:
3304:
3303:
3301:
3300:
3297:
3294:
3291:
3288:
3285:
3280:
3275:
3273:Century Gothic
3270:
3265:
3261:
3259:
3255:
3254:
3252:
3251:
3246:
3241:
3236:
3231:
3227:
3225:
3221:
3220:
3218:
3217:
3211:
3208:
3207:Photina (1972)
3204:
3202:
3198:
3197:
3195:
3194:
3186:
3180:
3174:
3171:
3168:
3165:
3160:
3154:
3149:
3142:
3136:
3130:
3123:
3121:
3117:
3116:
3114:
3113:
3110:
3101:
3095:
3092:
3089:
3086:
3083:
3077:
3074:
3071:
3065:
3059:
3055:
3053:
3049:
3048:
3046:
3045:
3041:
3039:
3035:
3034:
3032:
3031:
3028:
3023:
3018:
3015:
3009:
3006:
3000:
2995:
2986:
2977:
2971:
2965:
2960:
2954:
2945:
2942:
2935:
2932:
2927:
2924:
2921:
2918:
2915:
2909:
2908:Jocunda (1933)
2906:
2900:
2897:
2894:
2888:
2885:
2882:
2879:
2876:
2873:
2870:
2867:
2861:
2855:
2849:
2842:
2840:
2836:
2835:
2833:
2832:
2826:
2820:
2814:
2808:
2798:
2797:(1928 onwards)
2792:
2789:
2783:
2778:
2777:Othello (1928)
2775:
2772:
2769:
2761:
2755:
2752:
2749:
2746:
2740:
2734:
2724:
2718:
2712:
2706:
2699:
2697:
2693:
2692:
2690:
2689:
2683:
2677:
2671:
2668:
2661:
2659:
2655:
2654:
2652:
2651:
2648:
2642:
2639:
2633:
2627:
2625:
2621:
2620:
2614:
2612:
2611:
2604:
2597:
2589:
2583:
2582:
2577:
2570:On Van Dijck:
2568:
2567:
2557:
2556:
2550:
2545:
2536:
2535:
2530:
2520:
2519:External links
2517:
2515:
2514:
2488:
2462:
2437:
2409:
2380:
2354:
2329:
2300:
2272:
2246:
2221:
2214:
2196:
2181:Haley, Allan.
2173:
2155:Moran, James.
2147:
2140:
2118:
2092:
2069:
2062:
2039:
2017:
2010:
1990:
1947:
1920:
1890:
1855:
1830:
1823:
1803:
1771:
1748:
1711:
1701:
1683:
1676:
1654:
1640:
1617:
1591:
1565:
1554:. pp. 3–4
1529:
1493:
1479:
1462:Kinross, Robin
1453:
1436:"Van Dijck MT"
1427:
1393:
1368:
1359:
1330:
1302:
1291:(3): 229–242.
1275:
1260:
1253:
1233:
1210:
1203:
1174:
1167:
1149:
1134:
1108:
1079:
1062:Johnson, A. F.
1053:
1016:
978:
952:
938:
897:
872:
844:
830:
810:
803:
781:
774:
754:
719:
698:
666:
664:
661:
659:
658:
654:Bitstream Inc.
645:
632:
622:
620:
617:
547:
544:
526:
523:
511:infant variant
460:James Mosley's
432:
429:
404:
401:
267:
266:Modern history
264:
167:
164:
138:printing types
118:
117:
114:
110:
109:
104:
100:
99:
96:
92:
91:
86:
80:
79:
76:
70:
69:
62:
60:Classification
56:
55:
50:
44:
43:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3406:
3395:
3392:
3390:
3387:
3385:
3382:
3380:
3377:
3376:
3374:
3353:
3346:
3343:
3340:
3337:
3334:
3331:
3330:
3328:
3324:
3318:
3315:
3312:
3311:
3309:
3305:
3298:
3295:
3292:
3289:
3286:
3284:
3281:
3279:
3276:
3274:
3271:
3269:
3266:
3263:
3262:
3260:
3256:
3250:
3247:
3245:
3242:
3240:
3237:
3235:
3232:
3230:Nimrod (1980)
3229:
3228:
3226:
3222:
3215:
3212:
3209:
3206:
3205:
3203:
3199:
3193:
3190:
3187:
3184:
3183:Fleet Titling
3181:
3178:
3175:
3172:
3169:
3166:
3164:
3161:
3158:
3155:
3153:
3150:
3147:
3143:
3140:
3137:
3134:
3131:
3128:
3127:New Clarendon
3125:
3124:
3122:
3118:
3112:Pepita (1959)
3111:
3108:
3105:
3102:
3099:
3096:
3093:
3090:
3088:Headline Bold
3087:
3084:
3081:
3080:Ashley Script
3078:
3075:
3072:
3069:
3066:
3063:
3060:
3057:
3056:
3054:
3050:
3044:Figaro (1940)
3043:
3042:
3040:
3036:
3029:
3027:
3024:
3022:
3019:
3017:Matura (1938)
3016:
3013:
3010:
3007:
3004:
3001:
2999:
2996:
2993:
2990:
2987:
2984:
2981:
2978:
2975:
2972:
2969:
2966:
2964:
2961:
2958:
2955:
2952:
2949:
2946:
2943:
2940:
2939:(for Collins)
2936:
2933:
2931:
2928:
2925:
2922:
2919:
2916:
2913:
2910:
2907:
2904:
2901:
2898:
2895:
2892:
2889:
2886:
2883:
2880:
2877:
2874:
2871:
2868:
2865:
2862:
2859:
2856:
2853:
2850:
2847:
2844:
2843:
2841:
2837:
2830:
2827:
2824:
2821:
2818:
2815:
2812:
2809:
2806:
2802:
2799:
2796:
2793:
2790:
2787:
2784:
2782:
2779:
2776:
2773:
2770:
2768:
2765:
2762:
2759:
2758:Grotesque 215
2756:
2753:
2750:
2747:
2744:
2741:
2738:
2735:
2732:
2728:
2725:
2722:
2719:
2716:
2713:
2710:
2707:
2704:
2701:
2700:
2698:
2694:
2687:
2684:
2681:
2678:
2675:
2672:
2669:
2666:
2663:
2662:
2660:
2656:
2649:
2646:
2643:
2640:
2637:
2634:
2632:
2629:
2628:
2626:
2622:
2617:
2610:
2605:
2603:
2598:
2596:
2591:
2590:
2587:
2581:
2578:
2576:
2573:
2572:
2571:
2565:
2562:
2561:
2560:
2554:
2551:
2549:
2546:
2544:
2541:
2540:
2539:
2534:
2531:
2529:
2526:
2525:
2524:
2523:On Ehrhardt:
2518:
2502:
2498:
2492:
2489:
2476:
2472:
2466:
2463:
2451:
2447:
2441:
2438:
2427:
2423:
2419:
2413:
2410:
2398:
2394:
2390:
2384:
2381:
2368:
2364:
2358:
2355:
2342:
2341:
2333:
2330:
2318:
2317:New Scientist
2314:
2310:
2304:
2301:
2289:
2282:
2276:
2273:
2261:
2260:Stone Letters
2257:
2250:
2247:
2235:
2234:"John Peters"
2231:
2225:
2222:
2217:
2211:
2207:
2200:
2197:
2184:
2177:
2174:
2169:
2165:
2158:
2151:
2148:
2143:
2137:
2132:
2131:
2122:
2119:
2106:
2102:
2096:
2093:
2088:
2083:
2082:
2073:
2070:
2065:
2059:
2055:
2054:
2046:
2044:
2040:
2036:
2032:
2028:
2021:
2018:
2013:
2007:
2003:
2002:
1994:
1991:
1987:
1985:
1981:
1977:
1972:
1965:
1961:
1957:
1956:Mosley, James
1951:
1948:
1943:
1939:
1935:
1931:
1924:
1921:
1917:
1904:
1900:
1894:
1891:
1887:
1876:. p. xiv
1875:
1871:
1870:
1862:
1860:
1856:
1851:
1847:
1840:
1834:
1831:
1826:
1824:9780714103297
1820:
1816:
1815:
1807:
1804:
1800:
1798:
1792:
1788:
1781:
1775:
1772:
1759:
1752:
1749:
1733:
1729:
1722:
1715:
1712:
1708:
1704:
1698:
1694:
1687:
1684:
1679:
1677:9780674834255
1673:
1668:
1667:
1658:
1655:
1643:
1641:9781567922400
1637:
1633:
1632:
1627:
1626:Tracy, Walter
1621:
1618:
1606:
1602:
1595:
1592:
1580:
1576:
1569:
1566:
1553:
1546:
1542:
1536:
1534:
1530:
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2397:Typographica
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2107:. 2 May 2013
2105:Fonts in use
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2025:Luna, Paul.
2020:
2000:
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1936:(1): 29–56.
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1516:the original
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1096:Type Foundry
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1037:the original
1019:
1010:Oxford Press
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991:
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965:the original
955:
945:11 September
943:. Retrieved
923:
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875:
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853:"MiklĂłs Kis"
847:
835:. Retrieved
820:
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741:the original
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568:text figures
561:
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477:series, the
472:
463:
456:Harry Carter
454:
434:
421:line spacing
406:
392:
390:
372:very popular
357:
350:
297:
269:
256:Anton Janson
241:
212:
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181:
161:
122:
121:
78:Nicholas Kis
29:
3345:Joanna Sans
3335:(2012/2016)
3021:Sachsenwald
2887:Littleworth
2858:Braggadocio
2721:Baskerville
2564:Kis Antiqua
2477:. Bitstream
2450:Font Bureau
1741:26 December
1647:16 December
1610:14 December
1584:14 December
1486:14 December
1066:The Library
1002:18 December
605:Font Bureau
489:Penguin 60s
397:festschrift
376:blackletter
248:Druckmuseum
209:Dutch taste
198:punchcutter
176:Cluj-Napoca
154:punchcutter
152:pastor and
98:1938, 1680s
74:Designer(s)
3373:Categories
3299:Gill Facia
3287:Carré Noir
3026:Haarlemmer
2869:Leysbourne
2823:Goudy Sans
2771:Bernard MT
2727:Poliphilus
2507:5 November
2481:5 November
2431:2022-11-05
2373:5 November
2369:. Monotype
2347:9 December
2322:9 December
2293:6 November
2265:6 November
2239:6 November
2185:. Monotype
2111:5 November
1909:9 December
1905:: 71. 1949
1899:"Ehrhardt"
1880:9 December
1760:. Monotype
1522:8 December
1442:. Monotype
1327:(3). 1956.
1144:Fine Print
1127:5 November
971:6 November
890:9 December
865:6 November
821:Dutch type
710:Lane, John
691:5 November
663:References
641:Cyril Burt
587:small caps
572:small caps
525:Extensions
506:The Iconic
425:descenders
339:are based.
317:Linotype's
313:Monotype's
300:Pantograph
233:descenders
190:Protestant
183:MiklĂłs Kis
113:Variations
3239:Footlight
3163:Traveller
2963:Gill Kayo
2948:Gwendolin
2917:Colmcille
2831:(c. 1929)
2795:Gill Sans
2751:Engravers
2636:Old Style
2618:typefaces
2189:11 August
1512:Typophile
1422:0364-5517
1285:Quaerendo
1101:14 August
1046:7 October
495:textbook
431:Reception
417:old-style
252:Darmstadt
127:old-style
65:Old-style
3313:Neo Sans
3249:Cantoria
3144:Fontana
3139:Octavian
3068:Spectrum
3003:Ehrhardt
2976:(1935-9)
2974:Albertus
2937:Fontana
2912:Rockwell
2881:Falstaff
2817:Deepdene
2786:Perpetua
2743:Fournier
2715:Garamond
2703:Garamont
2665:Veronese
2616:Monotype
2446:"Kis FB"
2422:"Equity"
2311:(1960).
2170:(3): 26.
1958:(2001).
1852:(2): 27.
1797:x-height
1628:(2003).
1464:(2004).
1390:(1): 15.
1146:: 25–30.
881:"Quarto"
716:: 47–75.
595:OpenType
564:OpenType
446:Garamond
442:Perpetua
413:flourish
360:Salfords
321:matrices
304:machined
291:machined
229:x-height
202:matrices
123:Ehrhardt
48:Category
33:Ehrhardt
3244:Calisto
3214:Calvert
3170:Cartier
3133:Univers
3073:Angelus
3012:Pegasus
2968:Romulus
2957:Emerson
2923:Menhart
2903:Walbaum
2872:Placard
2846:Lutetia
2805:Arrighi
2801:Centaur
2781:Lutetia
2680:Plantin
2674:Imprint
2501:MyFonts
2475:MyFonts
2455:26 July
2402:13 July
2367:MyFonts
1984:Plantin
1976:Imprint
1764:28 July
1605:daidala
1579:daidala
1558:13 July
1440:MyFonts
1352:28 July
1220:Library
1121:MyFonts
837:27 July
685:MyFonts
381:Reigate
368:Fraktur
294:letter.
244:Stempel
146:Leipzig
142:foundry
84:Foundry
3347:(2015)
3341:(2013)
3296:Cachet
3268:Amasis
3216:(1979)
3189:Barbou
3185:(1967)
3179:(1967)
3159:(1962)
3157:Apollo
3148:(1961)
3141:(1961)
3135:(1961)
3129:(1960)
3109:(1958)
3104:Joanna
3100:(1957)
3082:(1956)
3070:(1955)
3064:(1951)
3014:(1937)
3005:(1937)
2994:(1937)
2989:Joanna
2985:(1937)
2980:Bulmer
2970:(1936)
2959:(1936)
2953:(1935)
2941:(1935)
2914:(1934)
2905:(1933)
2893:(1932)
2884:Inflex
2878:Script
2866:(1931)
2860:(1930)
2854:(1930)
2848:(1930)
2825:(1929)
2819:(1929)
2813:(1929)
2807:(1929)
2788:(1928)
2774:Gallia
2764:Barbou
2760:(1926)
2745:(1925)
2733:(1923)
2723:(1923)
2717:(1922)
2711:(1921)
2709:Bodoni
2705:(1921)
2688:(1915)
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2638:(1900)
2631:Modern
2553:Kis FB
2212:
2138:
2060:
2008:
1971:Joanna
1821:
1699:
1674:
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1477:
1420:
1251:
1201:
1165:
936:
932:–122.
828:
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747:19 May
487:, the
483:, the
409:italic
386:Benton
364:Surrey
337:Janson
325:Didone
260:Janson
237:colour
125:is an
107:Janson
3326:2010s
3317:Slate
3307:2000s
3283:Curlz
3258:1990s
3234:Arial
3224:1980s
3201:1970s
3177:Sabon
3152:Forte
3120:1960s
3098:Dante
3085:Swing
3052:1950s
3038:1940s
2920:Runic
2839:1930s
2829:Solus
2811:Bembo
2803:with
2731:Blado
2696:1920s
2658:1910s
2624:1900s
2284:(PDF)
2160:(PDF)
1980:Bembo
1842:(PDF)
1783:(PDF)
1735:(PDF)
1728:Forum
1724:(PDF)
1548:(PDF)
1471:(PDF)
1380:(PDF)
1317:(PDF)
1040:(PDF)
1029:(PDF)
856:(PDF)
619:Notes
576:Adobe
450:Bembo
438:Times
130:serif
68:Dutch
53:Serif
2875:Kino
2864:Bell
2729:and
2509:2015
2483:2015
2457:2015
2404:2015
2375:2015
2349:2015
2324:2015
2295:2015
2267:2015
2241:2015
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2191:2015
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2113:2015
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2006:ISBN
1911:2015
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839:2015
826:ISBN
799:ISBN
770:ISBN
749:2017
693:2015
591:Word
570:and
531:bold
503:and
491:and
185:, a
27:Font
3339:SST
2087:188
1938:doi
1347:Eye
1293:doi
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1070:doi
930:117
517:by
448:or
223:by
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