SCOTCH Boston Type Specimen
History
THE TERM ‘SCOTCH ROMAN’
originates in the United States towards the end of the nineteenth century. It is derived from ‘Scotch Face’, the name given to type from S. N. Dickinson’s Boston type foundry. The original type design for ‘Scotch’ is first cut by Richard Austin and cast by Alexander Wilson and Son in Glasgow during the start of the nineteenth century.
The type that becomes known as ‘Scotch’ is derived from a different model from William Miller’s Edinburgh type foundry known as ‘Pica No. 2.’ The Miller type is cast and sold by A.D. Farmer’s New York type foundry. This modern typeface is later influential to the type designs of ‘Caledonia’ and ‘Georgia.’ A modern revival of ‘Scotch’ is ‘Miller,’ by Matthew Carter.
Monotype works to keep the historic fonts upon which the company built it’s reputation relevant and viable, while generating innovative work from contemporary designers. A type titan for over 100 years, Monotype continues to lead the industry in quality and innovation for a global type market. Scotch Roman and Italic are available at monotype.com.
Contents
Character Sets
Characteristics
Sample Layouts
Scotch Roman The character set in caps, small caps and lower case
3
Traits Examined The form of Scotch
5
Postmaster General Design inspired by newspaper spread
9
Scotch Italic The character set in caps, small caps and lower case
7
Classification Modern and transitional Characteristics examined
6
Victorian Architecture Design inspired by magazine spread
13
Scotch Characters The numerical collection in roman and italic, and special characters
11
SCOTCH roman
ABCDEFGHI JKLMNOPQRS TUVWXYZ ABCDEFGHIJKLMN OPQRSTUVWXYZ
abcdefghijkltmn opqrstuvwxyz
Post Office Square 4
5
Post Office Square
1
2
3
7
6
1 Thick and thin strokes 2 Slanted serifs 3 Vertical stress 4 Large ball terminals 5 Ligatures 6 Bracketed serifs 7 Small aperture
MODERN SERIF transitional influence When used as the display typeface for a design, modern serifs communicate more than what the characters spell out, the typefaces articulate chicness, sophistication and high design. But there’s something about the smartness of ‘Scotch’ that transcends a typical modern serif. ‘Scotch’ has a voice all its own which is derived from the characteristics of modern serifs with transitional influence. Signature to a modern serif, the stroke weight of ‘Scotch’ varies between thin and thick strokes. However, in a transitional style ‘Scotch’ has bracketed serifs. The weight of the serifs help to balance the contrasting stroke weights and gives ‘Scotch’ an advantage to the typical modern serif. Unlike most modern serifs with hairline strokes ‘Scotch’ can be used as body copy. With a capable presence as a display and body typeface ‘Scotch’ is the ideal typeface for creating a stylish design. ‘Scotch’ can be found on the covers and spreads of numerous print and online publications. 10 pt. Roman
S C O T CH italic
AB CD EF GHI J K L MN O P Q R S TUVWXYZ ab c d e f g hi jkl mn opqrs tuvwxyz
abcdefghijkltmn opqrstuvwxyz
20pt. Italic
The Boston Post Office and Sub Treasury Building Letters from the Postmaster General and the Secretary of the Treasury, approving the report of the commission to select a site for a building for a post office and sub-treasury in Boston.
8pt. Italic
washington d . c . march
9pt. Roman
S
of 1868
IR: I HAVE CAREFULLY
examined the report of the commission appointed under a resolution of Congress entitled “A resolution relative to the post office and sub-treasury of the city of Boston,� approved March 2, 1867, to select a proper site for a building for a post office, and for the accommodation of the sub-treasury in the city of
Boston. I am satisfied from this report, and the accompanying maps and diagrams, and also from my own personal examination of the premise, that the site selected by the commission is well chosen for the resolution’s indicated purposes. The necessity of the postal service in the city of Boston require the early action of Congress. I approve fully the report of the commission, and recommend that the commission be authorized to secure by purchase the title to the site selected, and that Congress make the necessary appropriations to secure the site discussed in the report.
S
IR: I HAVE EXAMINED
the commission report appointed under a resolution of Congress, entitled “A resolution relative to the post office and treasury of the city of Boston,� and approve it. I also unite with the Postmaster General in his recommendation that the commission be authorized to purchase the title to the site, and that Congress make the necessary appropriation for that purpose of securing the location.
The commissioners appointed under the resolve of the Senate and House of Representatives, approved March 2, 1867, for the purpose of selecting a proper site for a building for a post office, make the following report: That the commission held their first meeting on May 18 the last, and after due consideration voted to advertise for property proposals.
The demolition of the Boston Post Office & Sub Treasury Building marked the start of the modernist style of architecture & design.
SCOTCH characters
Scotch Roman
Constructed : 1869 Scotch Italic
Demolished : 1929 Numerical Collection
1234567890 1234567890 Special Character Collection
“”!?$%&*;:
20 pt. Italic
9pt. Roman
Center of Victorian Architecture THE POST OFFICE AND SUB-TREASURY BUILDING WAS DESIGNED
to provide a permanent Boston Post Office for the United States Postal Service, which had spent the early part of the nineteenth century repeatedly moving between various downtown locations in the city. The completed building, which was designed by Supervising Architect Alfred B. Mullett and revised by William Appleton Potter, was built in the Second Empire style with Cape Ann granite and a prominent Mansard roof. Similar in appearance to both Old City Hall and the later Suffolk County Courthouse, it became one of several edifices that made Post Office Square a center of Victorian architecture. 8pt. Roman
BY THE EARLY 20 TH CENTURY, THE SPACE REQUIREMENTS OF THE
federal government had outgrown the existing building, which had also become an object of derision in the face of a modernist backlash against Second Empire architecture. Following the passage of the Public Buildings Act in 1926, a campaign began for the building to be replaced with a larger and more modern structure. An appropriation for the project was filed in 1927 and approved, and in 1928 the various federal agencies moved out of the building. In the following year it was demolished, and four years later it was replaced with the McCormack Federal Building.
Two large statuaries by Daniel Chester Frenchwhich are now located in Franklin Park. These were preserved during the demolition and gifted to Boston City.