Emily Hancock of St Brigids press is building a series of posts on female lineage in the art of printing and book-making. The most recent article shines a spotlight on: Elizabeth Yeats. “If the surname sounds familiar, you are right ~ Elizabeth (1868-1940) was the sister of famed Irish poet William Butler Yeats.”
Rather than being modern interpretations where the designer leaves an obvious mark, the Commercial Classics are careful reconstructions, made not for yesterday, but for today’s users. They take the old forms, and expand them in new directions, whilst retaining the charm and beauty of the originals. This talk took place on July 8, 2019, at The Cooper Union as part of Type@Cooper's Herb Lubalin Lecture Series.
Tallone Press’ collection of typefaces, archiving styles ‘from gutenberg to the moon’ features beautifully photographed fonts, punches, printed specimen and plates. This is an exquisite source of inspiration and information for printers, and typographers.
“The history of typefaces can be a rather sketchy affair at times, with many questions that defy definitive answers: When was a certain style first introduced? Which foundry created it first? For the writer and historian, it is near impossible to write with complete certainty, with the fear that something will be discovered that changes our understanding of the past, a concern has only increased in the age of the internet. Yet, at the same time, we are living during a time that offers new possibilities of new discoveries, which is why we have embraced the challenge.”
Dan Reynolds shares some context around the development of his dissertation published in the latest footnotes magazine on the history of the H. Berthold AG and Ferd. Theinhardt type foundries, as well as the histories of the Akzidenz-Grotesk and Royal-Grotesk typefaces.
Commercial Classics Journal entry on the how the digital processes of making type today differ from the days of moveable type. “We made all of the faces in the Commercial Classics library digitally from start to finish. However, the originals they were based on were made in the traditional analogue method that had been in use since the fifteenth century,“
John Boardley tells of a 15th century best seller ‘a tale of illicit love and adulterous passions’ the latest article on ilovetypography.com which is sure to please all the book and print historians. “This a woodcut from the only illustrated printed edition of the fifteenth century. Printed by Pacini around 1500. Only four copies survive: three in Italy and one in the United States, held at the Metropolitan Museum of Art in New York.”
For a century, from the 1870s to 1970s, typesetters were routinely paid to set type that was discarded. This “bogus copy” has to due with unions and managers, keeping a decent wage, preserving jobs, and ultimately the end of the era of metal type. Learn about the last man at the New York Times who had a job for life as an outcome of “bogus.”
The 1800s were a time of massive transformation in printing. The 1700s saw printing move from cottage to larger scale, but many factories held back industrial operations. Those changed dramatically right around 1800 and proceeded through the end of the century. In this article Glenn Fleishman focuses on an overlooked aspect: paper molds used to duplicate entire pages of type and images, often for newspapers, that were cast as metal plates. These remained in use until the 1980s in American newspapers!
The baseline is one of the foundations of legibility, allowing letters to be read in a flowing fashion along a horizontal line our minds construct. So how did type foundries keep a consistent baseline? They did not. At least for most of the first four and a half centuries of printing before industrial scale had fully set in and before standardization became keenly important as an element of efficiency and productivity. Read this fascinating article from Glenn Fleishman for more.