o f t h e b a r o qu e e r a by
MIK LÓS K IS Hungarian Punchcutter
A B C DE F G H I J K L M N OP QR S T U V W Y X Z abcdefghijklmnopqrstuvw yxz 1 2 3 4 5 6 7 8 9 0 & ! ? ( )
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1685
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linotype
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the origin of janson
J
anson was designed and cut approximately around 1685 by the Hungarian tpunchcutter Miklós Kis, when working in Amsterdam. Kis had traveled to tAmsterdam in 1680 to study and work under Dirk Voskens. The common misconception is that this typeface was cut by Dutch punchcutter, Anton Janson, and to this day still bears his name. It remains a mystery how this typeface ended up being named after Anton Jason. This knowledge only became discovered in 1919, when some of Kis’ punches were recovered and used by the Stempel ag foundry in Frankfurt. This revival, Linotype Janson was based on the original Kis punches, cut in 1952 and created by Hermann Zapf. Janson is quite a successful typeface and is used commonly for books and magazine text, because of its strong and sturdy forms.
Ab Ioue et principium magno deduxit Aratus. Carminis at nobis, genitor, situ maximus auctor, te ueneror tibi sacra fero doctique laboris primitias. Ast probat et motus ipse deum rectorque satorque. Igi quantum etenim possent anni certissima signa, ipse qua Sol ardentem Cancrum rapidissimus daambit diuersasque secat metas gelidi Capricorni et quaue Aries et Libra aequant diuortia lucis, si non parta quies te praeside puppibus aequor cultorique daret terras, procul arma silerent? Nuc uacat audacis ad caelum tollere uultus sideraque et mundi uarios cognoscere motus, nauita quid caueat, quid scitus uitet arator, quando ratem uentis aut credat semina terris. Haec a et ego dum Latiis conor praedicere Musis, pax tua tuque adsis numenque secundes. Cetera quae toto fulgent uaga sidera mundo indefessa trahit proprio pondere caelum. Axis immotus semper uestigia seruat libratasque tenet terras cardine firmo orbem agit. Extremum geminus determinat axem quem. Grai dixere polon: pars mersa sub undas.
Oceani, pars celsa sub horrifero Aquilone. Axem Cretaeae nobis dextra laeuaque tuentur siue Arctoe seu Romani cognominis Vrsae. Plaustraue, quae facies ips stellarum proxima uerae: tres temone rotisque micant, sublime quaternae. Si melus dixisse feras, den obuersa refulgent ora feris; caput alterius super horrida terga alterius lucet; pronas rapit orbis in ipsos declinis umeros. Ueteri si gratia famae, Cresia est uos tellus aluit, moderator Olympi donauit caelo. Meritum custodia fecit, quod fidae comites prima incunabula magni fouistis Iouis, attonitae cum furta parentis aerea pulsantes mendaci cymbala dextra, uagitus pueri patrias ne tangeret auris. Dictaeis texere adytis famuli Corybantes. Hinc Iouis altrices et Helice Cynosraque fulgent cum furta cael. Dat Grais Helice cursus maioribus astris, Phoenicas a Cynosura regit. Sed candida. totae. liquido splendore Helice nitet; haud prius ulla, sit cum Sol Oceano fulgentia condidit ora, stella micat caelo, septem quam Cresia flammis. Cetior est Cynosura.
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A B C D E F G H I J K L M N O P Q R S T U V W Y X Z
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A B C D E F G H I J K L M N O P Q R S T U V W Y X Z abcdefghijklmnopqr stuvwyxz 1 2 3 4 5 6 7 8 9 0 & ! ? ( )
Printer to the Kings and King of Printers
1789
BODONI GI A M BAT T I STA BOD ON I Classif ication: Romantic
B
odoni, a distinctly notable romantic type, is from the mid nto late 1700’s. This romantic letterform is identified for
its strong use of the contrast between thick and thin strokes, and success a s a display typeface. Given the extreme contrast, this typeface is designed in multiple weights (6, 12, & 72) to
optically adjust for best legibility. Additionally there are two notable versions, the itc version created by Summer Stone et al resembles Bodoni’s early work; and the Bauer version created by Louis Höll & Henrich Jost in 1926, recreates Bodoni’s later type which is identifiable for its further increased contrast.
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