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A Tally Of Types
''A Tally of Types'' is a book on typography authored by the type designer Stanley Morison. It was first published in 1953, and showcases significant typeface designs produced during Morison's tenure at the Lanston Monotype Corporation for their hot-metal typesetting machines during the 1920s and 1930s in England. According to Brooke Crutchley, University Printer at the Cambridge University Press, the book "first appeared in 1953, when it was issued as a Christmas keepsake to 'friends of the University Printer in printing and publishing'"; only 450 copies were printed and distributed of this original edition. The author, a scholarly British pioneer historian and typographer, was the driving force behind Monotype's dynamic typographic programme of research and revival of representative historical typographic models. The book was compiled and written at Crutchley's request. ''A Tally of Types'', now republished many times, has proven to be an important source of information on ty ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stanley Morison
Stanley Arthur Morison (6 May 1889 – 11 October 1967) was a British typographer, printing executive and historian of printing. Largely self-educated, he promoted higher standards in printing and an awareness of the best printing and typefaces of the past. From the 1920s Morison became an influential adviser to the British Monotype Corporation, advising them on type design. His strong aesthetic sense was a force within the company, which starting shortly before his joining became increasingly known for commissioning popular, historically influenced designs that revived some of the best typefaces of the past, with particular attention to the middle period of printing from the Renaissance to the late eighteenth century, and creating and licensing several new type designs that would become popular. Original typefaces commissioned under Morison's involvement included Times New Roman, Gill Sans and Perpetua, while revivals of older designs included Bembo, Ehrhardt and Bell. Times N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ludovico Vicentino Degli Arrighi
Ludovico Vicentino degli Arrighi (Cornedo Vicentino, 1475?–1527?) was a papal scribe and type designer in Renaissance Italy. Very little is known of the circumstances of his life. He may have started his career as a writing master in Venice, although this has been disputed. Around 1510 he was a bookseller in Rome. He was employed as a scribe at the Apostolic Chancery in 1513. His experience in calligraphy led him to create an influential pamphlet on handwriting in 1522 called ''La Operina,'' which was the first book devoted to writing the italic script known as chancery cursive. This work, a 32-page woodblock printing, was the first of several such publications. He turned to printing in 1524 and designed his own italic typefaces for his work, which were widely emulated. His last printing was dated shortly before the sack of Rome (1527), during which he was probably killed. His letterforms were revived in the 20th century by designers such as Stanley Morison, Frederic Warde, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perpetua (typeface)
Perpetua is a serif typeface that was designed by English sculptor and stonemason Eric Gill for the British Monotype Corporation. Perpetua was commissioned at the request of Stanley Morison, an influential historian of printing and adviser to Monotype around 1925, at a time when Gill's reputation as a leading artist-craftsman was high. Perpetua was intended as a crisp, contemporary design not following any specific historic model, with a structure influenced by Gill's experience of carving lettering for monuments and memorials. Perpetua is commonly used for covers and headings and also sometimes for body text; it has been particularly popular in fine book printing. Perpetua was released with characters for the Greek alphabet and a matching set of titling capitals for headings. Perpetua is named for the Christian martyr Vibia Perpetua, an account of whose life was used in one of its first showings; its companion italic is named "Felicity" for her companion of that name. The choice ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frederic Goudy
Frederic William Goudy (, March 8, 1865 – May 11, 1947) was an American printer, artist and type designer whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley. He was one of the most prolific of American type designers and his self-named type continues to be one of the most popular in America. Biography Goudy was not always a type designer. "At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did the seven greatest inventors of type and books, from Gutenberg to Garamond." Asked how to say his name, he told ''The Literary Digest'' "When I was a boy my father spelled our name 'Gowdy' which didn't offer any particular reason for verbal gymnastics. Later learning that the old Scots spelling was 'G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Austin (punchcutter)
Richard Austin (1756–1832) was an England, English punchcutting, punchcutter. He was the original cutter of the typefaces now known as ''Bell'', ''Scotch Roman'', and ''Porson.'' Born in London 4 August 1756 and christened at St Luke's Old Street, he studied seal, die and copper-plate engraving as an apprentice to John Phillips near Finsbury Square. He married Phillips' daughter Sarah and set up on his own about 1786. He was hired by John Bell (publisher), John Bell's British Letter Foundry in 1788 as a punch-cutter, to imitate Didot's 1782 types "de la troisième manière," cut by Pierre Vafflard to F-A Didot's designs. Bell sold his interest in the foundry to S & C Stephenson. When the foundry closed in 1797, Austin brought in his own punches and sold strikes to Fry & Steele, Vincent Figgins, Figgins, and Caslon. Strikes were even sold in North America. Austin cut Greek types for Cambridge University Press in 1806–8, following designs provided by the famous master Richard Po ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bell (typeface)
Bell is the name given to a serif typeface designed and cut in 1788 by the punchcutter Richard Austin for the British Letter Foundry, operated by publisher John Bell, and revived several times since. The Bell typeface has a precise appearance that features stylish contrasts between thick and thin strokes and ball terminals on many letters; it was influenced by the radical Didone styles of type becoming popular on the continent, in particular the work of the Didot family. However, it is less severe in design, somewhat similar to the earlier Baskerville and slightly later Bulmer typefaces. The figures are distinctive for being at fixed height, or lining, at approximately three-quarter the height of the capitals, in contrast to earlier numerals of variable height. The figures have a number of elaborate details reminiscent of the steely calligraphy of the period, and the slight inclination of some of them led Walter Tracy to suggest that Austin was following a written example. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Handy
John Richard Handy III (born February 3, 1933) is an American jazz musician most commonly associated with the alto saxophone. He also sings and plays the tenor and baritone saxophone, saxello, clarinet, and oboe. Biography Handy was born in Dallas, Texas, United States. He first came to prominence while working for Charles Mingus in the 1950s. In the 1960s, Handy led several groups, among them a quintet with Michael White, violin, Jerry Hahn, guitar, Don Thompson, bass, and Terry Clarke, drums. This group's performance at the 1965 Monterey Jazz Festival was recorded and released as an album; Handy received Grammy nominations for "Spanish Lady" (jazz performance) and "If Only We Knew" (jazz composition). After completing high school at McClymonds High School in Oakland, he studied music at San Francisco State College, interrupted by service during the Korean War, graduating in 1958. Following graduation, he moved to New York City. Handy has taught music history and p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Baskerville
John Baskerville (baptised 28 January 1707 – 8 January 1775) was an English businessman, in areas including japanning and papier-mâché, but he is best remembered as a printer and type designer. He was also responsible for inventing "wove paper", which was considerably smoother than "laid paper", allowing for sharper printing results. Life Baskerville was born in the village of Wolverley, near Kidderminster in Worcestershire and baptised on 28 January 1706 OS(1707 NS) at Wolverley church. Baskerville established an early career teaching handwriting and is known to have offered his services cutting gravestones (a demonstration slab by him survives in the Library of Birmingham) before making a considerable fortune from the manufacture of lacquerwork items (japanning). He practised as a printer in Birmingham, England. Baskerville was a member of the Royal Society of Arts, and an associate of some of the members of the Lunar Society. Baskerville directed his punchcut ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baskerville
Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a Serif#Transitional, transitional typeface, intended as a refinement of what are now called Serif#Old-style, old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville's typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre-Simon Fournier
Pierre-Simon Fournier (15 September 1712 – 8 October 1768) was a French mid-18th century punch-cutter, typefounder and typographic theoretician. He was both a collector and originator of types. Fournier's contributions to printing were his creation of initials and ornaments, his design of letters, and his standardization of type sizes. He worked in the rococo form, and designed typefaces including Fournier and Narcissus. He was known for incorporating ‘decorative typographic ornaments’ into his typefaces. Fournier's main accomplishment is that he ‘created a standardized measuring system that would revolutionize the typography industry forever’. He was also known as Fournier le Jeune ("the younger") to distinguish him from his father Jean Claude, who was also in the typesetting industry. In his early life, Fournier studied watercolour with J. B. G. Colson, and later wood engraving. In 1737, Fournier published his first theoretical work, on the minimum spacing between le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fournier MT
Fournier is the name commonly applied to typefaces which are based on the typefaces of Parisian typefounder Pierre-Simon Fournier around the 1740s. Created in the Rococo style and influenced by the Romain du Roi typefaces commissioned by the French government in the previous century, Fournier's typefaces showed an advanced delicacy above what was previously common. Modern Fournier revivals include Monotype Fournier, created by the Monotype Corporation of Britain in the 1920s, Barbou, an alternative revival designed simultaneously by Monotype but not entered into mass production, and Corundum by Joshua Darden Joshua Darden (born 1979 in Northridge, Los Angeles, California) is an American typeface designer. He published his first typeface at the age of 15, becoming according to ''Fonts In Use'' the first known African-American typeface designer. Caree .... References External links Fonts in UseFonts in Use Barbou {{Monotype typefaces Transitional serif typefaces Monotype typef ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Granjon
Robert Granjon (1513-November 16, 1589/March 1590) was a French type designer and printer. He worked in Paris, Lyon, Frankfurt, Antwerp, and Rome for various printers. He is best known for having introduced the typeface Civilité and for his italic type form, the design of which in modern days is used in Garamond Italic. He worked in Lyon as a librarian, printer, and engraver of typefaces. He married the daughter of Bernard Salomon. The first book in his typeface, Civilité, was ''Dialogue de la vie et de la mort'' by Ringhieri (1557). The invention made such an impact that King Henry II, on December 26, 1557, gave him an exclusive privilege to use the type for ten years. Granjon's italic had a greater slant angle, slanted roman capitals, and reduced weight and rigor. These qualities and its contrasting thick and thin strokes gave it a dazzling appearance that made it difficult to read. It was nevertheless the main influence for italic type design until the Arrighi model was rev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
