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Chauncey H. Griffith
Chauncey H. Griffith (1879–1956) was an American printer and typeface designer. Griffith was born in a small town near Ironton, Ohio, and began his career as a compositor and pressman in Lexington, Kentucky, where his family moved when he was ten years old. In 1906 he joined the Mergenthaler Linotype Company as part of their New Orleans sales force. In 1915, he transferred to the company's New York division, where he worked as assistant to the president and oversaw the entrenchment of Linotype equipment as the industry standard in newspaper and book composition. In 1936, he was elected the Vice President of Typographic Development. Griffith worked closely with the designers William Addison Dwiggins and Rudolph Ruzicka, whom he solicited to create typefaces for Mergenthaler. He developed the typeface Excelsior in 1931 and it was widely adopted as a text and display face for newspapers across the United States. While Griffith was head of typographic development, Linotype issu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mergenthaler Linotype Company
The Mergenthaler Linotype Company is a corporation founded in the United States in 1886 to market the Linotype machine (), a system to cast metal type in lines (linecaster) invented by Ottmar Mergenthaler. It became the world's leading manufacturer of book and newspaper typesetting equipment; outside North America, its only serious challenger for book typesetting was the Anglo-American Monotype Corporation. Starting in 1960, the Mergenthaler Linotype Company became a major supplier of phototypesetting equipment which included laser typesetters, typefonts, scanners, typesetting computers. In 1987, the US-based Mergenthaler Linotype Company became part of the German Linotype-Hell AG; in the US the company name changed to Linotype Co. In 1996, the German Linotype-Hell AG was taken over by the German printing machine company Heidelberger Druckmaschinen AG. A separate business, Linotype Library GmbH was established to manage the digital assets. In 2005, Linotype Library GmbH shortened i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Addison Dwiggins
William Addison Dwiggins (June 19, 1880 – December 25, 1956), was an American type designer, calligrapher, and book designer. He attained prominence as an illustrator and commercial artist, and he brought to the designing of type and books some of the boldness that he displayed in his advertising work. His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, using Oriental influences and breaking from the more antiquarian styles of his colleagues and mentors Daniel Berkeley Updike, Updike, Thomas Maitland Cleland, Cleland and Frederic Goudy, Goudy. Career Dwiggins began his career in Chicago, working in advertising and lettering. With his colleague Frederic Goudy, he moved east to Hingham, Massachusetts, where he spent the rest of his life. He gained recognition as a lettering artist and wrote much on the graphic arts, notably essays collected in MSS by WAD (1949), and his ''Layout in Advertising'' (1928; rev. ed. 19 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rudolph Ruzicka
Rudolph Ruzicka (29 June 1883 – 20 July 1978) was a Czech American wood engraver, etcher, illustrator, typeface designer, and book designer. Ruzicka designed typefaces and wood engraving illustrations for Daniel Berkeley Updike's Merrymount Press, and was a designer for, and consultant to, the Mergenthaler Linotype Company for fifty years. He designed a number of seals and medals, including the American Institute of Graphic Arts (AIGA) and the Dartmouth Medal of the American Library Association. Biography Rudolph Ruzicka was born in Bohemia in 1883. He emigrated to the United States of America at age ten, living first in Chicago where he took drawing lessons at the Hull House School before becoming an apprentice wood engraver. From 1900 to 1902 he attended further classes at the Art Institute of Chicago. In 1903 he moved to New York to work as an engraver at the American Bank Note Company and at Calkins & Holden. In subsequent years he attended classes at both the Art Students ... [...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] |
Granjon
Granjon is an old-style serif typeface designed by George W. Jones around 1924 for the British branch of the Linotype company, and based on the Garamond typeface that was used in a book printed by the Parisian Jean Poupy in 1592. The roman design was from Claude Garamond and the italic version was from Robert Granjon. Because several other Garamonds were on the market in the 1920s, Jones decided to name his type Granjon. Jones, a master printer based in London, had been engaged by Linotype to improve the quality of their typeface range through the development of revivals of notable type designs of the past. Granjon was popular in the metal type era and Beatrice Warde described it as her favourite revival of French renaissance typefaces in her famous 1926 article on the topic; it was also praised by former Linotype designer Walter Tracy. (Many of the Garamond revivals of the 1920s were later shown to be actually based on the types of Jean Jannon; Granjon was an exception to this. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janson
Janson is the name given to a set of old-style serif typefaces from the Dutch Baroque period, and modern revivals from the twentieth century. Janson is a crisp, relatively high-contrast serif design, most popular for body text. Janson is based on surviving matrices from Leipzig that were named for Anton Janson (1620–1687), a Leipzig-based printer and punch-cutter from the Netherlands who was believed to have created them. In 1954 Harry Carter and George Buday published an essay asserting that the designer of the Janson typeface was in fact a Hungarian-Transylvanian schoolmaster and punchcutter, Miklós (Nicholas) Tótfalusi Kis (1650–1702). Historical background Miklós Kis, a Transylvanian Protestant pastor and schoolmaster, 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 considerable prosperity for the Netherlands and a time when its styles of printing were very infl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bell Gothic
Bell Gothic is a sans-serif typeface in the Sans-serif#Grotesque, industrial or grotesque style designed by Chauncey H. Griffith in 1938 while heading the typographic development program at the Mergenthaler Linotype Company. The typeface was John Mackay Shaw, commissioned by American Telephone & Telegraph Company, AT&T as a proprietary typeface for use in telephone directory, telephone directories and has since been made available for general licensing. Bell Gothic is designed for maximum legibility in the adverse conditions of small print on poor-quality newsprint paper, into which ink tends to absorb and spread out. It is therefore a popular font in printing at small sizes. Bell Gothic was replaced by American Telephone & Telegraph Company, AT&T with Matthew Carter's typeface Bell Centennial in 1978, the one centennial anniversary of AT&T's founding. Bell Gothic was derived from Monotype Grotesque, Monotype Grotesque Std Black typeface. Design Earlier in Griffith's career a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ionic No
Ionic or Ionian may refer to: Arts and entertainment * Ionic meter, a poetic metre in ancient Greek and Latin poetry * Ionian mode, a musical mode or a diatonic scale Places and peoples * Ionian, of or from Ionia, an ancient region in western Anatolia * Ionians, one of four major tribes of the ancient Greeks * Ionian Sea, part of the Mediterranean Sea * Ionian Islands, a group of islands in Greece Language * Ionic Greek, an ancient dialect of the Greek language Science and technology * Ionian, of or relating to Io, a moon of the planet Jupiter * Ionian stage, a proposed name for the now-defined Chibanian stage in stratigraphy. * Ionic, of or relating to an ion, an atom or molecule with a net electric charge * Ionic (mobile app framework), a software development kit * Ionic bonding, a type chemical bonding *Ionic compound, a chemical compound involving ionic bonding Other uses * Ionian Technologies, an American biotechnology company * Hull Ionians, an English rugby club * Ion ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Legibility Group
The Legibility Group is a series of serif typefaces created by the American Mergenthaler Linotype Company and intended for use in newspapers on Linotype's hot metal typesetting system. They were developed in-house by Linotype's design team, led by Chauncey H. Griffith, and released from 1922, when the first member, Ionic No. 5, appeared. Griffith's aim with the Legibility Group typefaces was to create a design with more body than the rather spindly Didone typefaces previously standard in newspaper printing. To this end, the designs have low contrast in stroke weight, wide open counters and ball terminals, intended to make the letters clearly distinguishable even when printed on poor-quality newsprint paper. The Legibility Group typefaces were extremely popular and remained used by many newspapers worldwide throughout the metal type period and beyond; many other newspaper typefaces from other foundries such as Intertype were created based on their design. A notable exception is M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bookman (typeface)
Bookman or Bookman Old Style, is a serif typeface. A wide, legible design that is slightly bolder than most body text faces, Bookman has been used for both display typography, for trade printing such as advertising, and less commonly for body text. In advertising use it is particularly associated with the graphic design of the 1960s and 1970s, when revivals of it were very popular. It is also used as the official font of Indonesian laws since 2011. Bookman evolved from fonts known as Old Style Antique, released around 1869. These were created as a bold version of the "Old Style" typeface, which had been cut by Alexander Phemister around the 1850s for the Miller & Richard foundry and become a standard, popular book typeface. Old Style Antique has letterforms similar to those of the eighteenth-century typeface Caslon, with a more even and regular structure, a wide and tall lower-case, and little contrast in line width. Bookman is much bolder than the original Old Style, to which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Corona (typeface)
The Legibility Group is a series of serif typefaces created by the American Mergenthaler Linotype Company and intended for use in newspapers on Linotype's hot metal typesetting system. They were developed in-house by Linotype's design team, led by Chauncey H. Griffith, and released from 1922, when the first member, Ionic No. 5, appeared. Griffith's aim with the Legibility Group typefaces was to create a design with more body than the rather spindly Didone typefaces previously standard in newspaper printing. To this end, the designs have low contrast in stroke weight, wide open counters and ball terminals, intended to make the letters clearly distinguishable even when printed on poor-quality newsprint paper. The Legibility Group typefaces were extremely popular and remained used by many newspapers worldwide throughout the metal type period and beyond; many other newspaper typefaces from other foundries such as Intertype were created based on their design. A notable exception ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
