1 William Morris and His Typefaces
William Morris and His Typefaces
William Morris and His Typefaces
2
William Morris and His Typefaces
Huyen Mac
Library of Congress Catalog Number: 5000111000 ISBN: 1-000000-22-0 All right reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means without written permission of the publisher and author except for brief quotations in reviews or critical articles. Published in 2017 by Typography III Typography III produces books related to the history of type design. Printed in the United States of America Distributed by HM Publishers, Baltimore, MD.
Contents
6-7 8-11 12-15 16-21 22-23 24-25 26-35 36-37 38-41
Introduction Biography Kelmscott Press The Making of Troy Type Technology Classification Type Foundries Type Anatomy P22 Morris Troy vs Lucida Blackletter
F igure 1 The Kelmscott Manor
William Morris and His Typefaces
6
Introduction
1. T he Kelmscott Chaucer, British Library, accessed October 05, 2017, https://www.bl.uk/collection-items/the-kelmscott-chaucer
Introduction
of books in a short period of time. However, in some case, quantity did not equal quality. Some artists and designer such as William Morris were not satisfied with the mass produced products such as books because of the lack of quality.1 With Morris, each and every book needed to produce with a high level of the craftsmanship. As a result, Morris established his own private press called the Kelmscott Press and created his own typefaces to use only for his press [Figure 1]. Troy Type was one of three typefaces that Morris has designed. Later in 21st century, Richard Kegler created the digital version of Kelmscott in 2001 called P22 Morris Troy.
7
B
etween 18th and 19th century, the industrial revolution happened in Europe and America. Manufactures no longer used human being as the main labor component. The industry shifted so that modern technology replaced manual work. Mass production was well developed in every aspect. Printing industry was not an exception. Prior to the industrial revolution, craftsmen produced books by their own small private presses. The books were made manually so that quantities were limited. After the industrial revolution, with the modern technology, the printing system had a great transformation. Mass production replaced handcrafts. It was easy to produce a large number
Biography EARLY LIFE
W
illiam Morris was born in 1834 in Walthamstow, England to a wealthy family [Figure 2]. He was the son of William Morris and Emma Morris. His father was a well-known stockbroker in London during that time and his mother, Emma Morris, was a music teacher in Worcrester.2 Growing up in a middle-class family, Morris had unlimited support from his family in terms of finance and education. Under the influence of his father, Morris attended Marlborough public school. It was designed for people who wanted to work in the business or finance industry in the future.3 When Morris turned 19, he attended Exeter College, Oxford. This was an important turning point of his later career. Instead of became a clergyman like what he and his family expected, he showed more
interest in art and design. During his time in Oxford, he met Edward BurneJones, a fellow student .The pair later became best friends and colleagues.4 Despite the fact that both Morris and Burne-Jones stayed in Oxford and intended to become priests, the pair found themselves immersed in the art world. A whole new world was opened for the two young emerging artists after their trip to France in 1855.5
Figure 2 The portrait of William Morris
2. Peter Stansky. Morris, William. Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 4, 2017, http://www.oxfordartonline.com.proxy-bc.researchport. umd.edu/subscriber/article/grove/art/T059724. 3. Mackail, J.W. The Life of William Morris. n.p.: New York, B.Blom, 1968, 14-15.
4. Ibid., 34-35. 5. Ersites, T.H. William Morris and the Kelmscott Press. Vol. X, No. 3. American Book Collector, 1959, 19.
CAREER
6. Ibid,. 19 7. Peter Stansky. Morris, William. Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 4, 2017, http://www.oxfordartonline.com.proxy-bc.researchport. umd.edu/subscriber/article/grove/art/T059724.
Figure 3 Artichoke. Tapestries designed by William Morris
8. William Morris & Kelmscott. The Design Council, London, 1981 9. Ibid,.
Biography
Besides working at the firm, Morris was also interested in designing tapestries, textiles, furniture, wallpapers, and illustration. His style was strongly inspired by nature. He mainly used floral and curved lines as the main elements to generate the unique pattern [Figure 3].
Beside floral, Morris also used birds as another distinctive element in his textile designs.8 Morris showed a lot of interest in birds. He observed the birds closely and studied their habit. He carefully sketched each part of the bird and added pattern and color into them to enhance their appearance. He also paid attention to the relationship between the bird figures and the floral forms in the surrounding areas.9
9
W
hen he was young, Morris intended to go down the path of a businessman like his father. However, changed to the life of a priest when he attended Oxford. However, he ended up working as a successful artist. After deciding to pursue his career as an artist, he started as an architect and studied under G. E. Street, an Oxford architect. Not long after he became an architect, Morris discovered his interest in painting. A couple years later, he became the leader of the Arts and Crafts movement.6 As an artist, Morris had multiple occupations. He was well known as a designer, calligrapher, writer, architect, and political activist. He was a founder of Morris & Co along with Burne-Jones, Rossetti, Webb, and Ford Maddox Brown. The firm was widely known for making stained glass with rich and deep color.7
William Morris and His Typefaces
10
Later in his life, Morris founded the Kelmscott Press in 1891 at Hammersmith [Figure 4, 5]. The private press was mainly working on handcrafted books with traditional woodcut illustration. Morris himself designed three different typefaces and the decoration for his book along with Burne-Jones illustration.10 “The Works of Geoffrey Chaucer” was the last but greatest book that Morris made before his death in 1896 [Figure 6]. The Kelmscott Press initially stayed open after Morris’s death, but finally closed two years later in 1898.
F igure 4 Printer’s mark design by William Morris (used in the bigger volume)
F igure 5 Printer’s mark design by William Morris (used in the smaller volume)
10. Peter Stansky. Morris, William. Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 4, 2017, http://www.oxfordartonline.com.proxy-bc.researchport. umd.edu/subscriber/article/grove/art/T059724.
11 Biography
Figure 6 The Works of Geoffrey Chaucer Kelmscott Press
Kelmscott Press
A
long with Golden Type and Chaucer, Troy Type was used to produce a variety of books at the Kelmscott Press. In 1891, William Morris published his first book from the Kelmscott Press. The book was called The Story of the Glittering Plain using Golden Type for the body text. In 1894, Morris wanted to republish the book [Figure 7]. Morris purposely elaborated the book and made the size much bigger than the first one. Instead of scaling Golden Type to a bigger point size, he created Troy Type.11 Troy Type characteristics were a perfect fit for a larger book size. Morris designed Troy Type under the influence of Gothic Style and Blackletter. Therefore, Troy had a clear distinction between the thick and thin strokes where the darkness of the letterforms suppresses the lightness of the page. The type and the woodcut illustrations blended well together to enhance the medieval manuscript style that Morris wanted to create in this book. 12
11. Updike, Daniel Berkerly. Printing Type Their History, Form, and Uses. Oak Knoll Press. 12. Meggs, Phillip B. Meggs’ History of Graphic Design. John Wiley & Sons, 2016, 192.
The book named The Story of the Littering Plain or the Land of Living Men was the one and only book that was published twice in the Kelmscott Press [Figure 8]. Later in time, Kelmscott Press also published other books using Troy Type. For instance, Historyes of Troys, The Life and Death of Jason, Love is Enough, The Wood Beyond the World, Of the Friendship of Amis and Amile, The Tale of King Florus and the Fair Jehance, The Tale of Emperor Coustans and Over Sea.
Figure 7 The Story of the Glittering Plain for the Land of Living Men Kelmscott Press
13 William Morris and His Typefaces
14 William Morris and His Typefaces
Figure 8 The Story of the Glittering Plain for the Land of Living Men Kelmscott Press
15 Kelmscott Press
The Making of Troy Type
I
n the era of industrialization, mass production was the most common system in printing industry. However, Morris did not approve the idea of the mass produced books because of the lack of quality. Therefore, he wanted to produce books with the traditional method that reflects the 15th century printing system that used handset type and joined the composed text with hand-drawn illuminated letters and painted images. The book that he created had to satisfy two requirements,
which are the ultimate combination of beauty and readability.13 Morris established the Kelmscott Press in order to fulfill his ambition. In order to create a perfect illustrated book, William Morris was not only created handmade paper and custom-made ink, but he also designed his own typefaces for the Kelmscott Press. He also designed three typefaces which are Golden, Troy, and Chaucer [Figure 9, 10, 11].
Figure 9 Troy Type - William Morris
13. The Kelmscott Chaucer, British Library, accessed October 05, 2017, https://www.bl.uk/collection-items/the-kelmscott-chaucer
Troy Type
Golden Type
Figure 10 Golden Type - William Morris
Chaucer Type
F igure 11 Chaucer Type - William Morris
With the inspiration from Nicholas Jenson Venetian roman faces, Morris carefully studied Jenson’s letterform and formed his revision. In 1890, he developed his first typeface system named the Golden Type and used it to publish The Golden Legend by Jacobus de Voragine.14 With the successful of the Golden Type, Morris continued developed another typefaces called Troy Type for his second illustrated book. While Golden Type influenced by Roman style, Troy Type on the other hand was influenced by Gothic
style, and Blackletter inspiration.15 Troy Type was used to create the book called The Story of the Glittering Plain or the Land of Living Men [Figure 12]. Additional to Troy, Morris also created Chaucer, which is the smaller version of Troy, to use in the smaller version of the books.16
14. Meggs, Phillip B. Meggs’ History of Graphic Design. John Wiley & Sons, 2016, 192.
Figure 12 The Story of the Glittering Plain for the Land of Living Men Kelmscott Press
15. McGinley, Helen. The Kelmscott Chaucer. Tale of Mystery and Pagination. Trinity College Dublin, the University of Dublin. May 26, 2016. Accessed October 05, 2017. http://www.tcd.ie/library/epb/blog/2016/05/the-kelmscott-chaucer/. 16. Ibid,. 192
21 William Morris and His Typefaces
Technology
T
he Kelmscott Press was referred back to the pre-industrialization printing technique where the craftsmanship determined the outcome of the final print. Unlike the modern printing technique, the Kelmscott Press required the craftsman involve to all the processes to finish the final illustrated books. At the beginning of the process, Morris needed to figure out what kind of paper can be use, and what kind of ink would be compatible with the paper in order to make the contents inside stand out. He wanted the paper to be hand-made and free from chemical. The ink needed to create from all natural ingredients.17 After researching a variety of possibilities, he decided to use the paper made entirely from linen design by Joseph Batchelor and Son in Kent, and the custom-made black ink was from a manufacture in Germany.18
His desire ideal books had to have the perfect balance between the text and the decoration. Morris designed Troy Type with the influence from the Gothic blackletter style. His idea was making a new semi-Gothic typeface that satisfy two main requirements, which are easy for the eyes to travel around the page and eligible to read without losing the distinction of a blackletter characteristic.
17. McGinley, Helen. The Kelmscott Chaucer. Tale of Mystery and Pagination. Trinity College Dublin, the University of Dublin. May 26, 2016. Accessed October 05, 2017. http://www.tcd.ie/library/epb/blog/2016/05/the-kelmscott-chaucer/. 18. Ibid,.
19. Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. 20. Meggs, Phillip B. Meggs’ History of Graphic Design. John Wiley & Sons, 2016, 192.
With the same processes of making Golden Type, Troy Type was made by a long progression of tracing and drawing. Morris studied the enlarged photographs of the letterforms and carefully redrawing to fit his own style19 [Figure 13]. Troy was a perfect modification of blackletter type. Troy appeared as a massive typeface with less spacing in between words and lines. Individual characters seemed to be thicker than other Gothic typefaces. It also has darker and pointy edges appearance. Troy worked perfectly with the decoration around the border. It was a flawless tribute with the complementary woodcut illustrations.20
23 William Morris and His Typefaces
Figure 13 Troy Type early sketches
Figure 14 The potrait of William Morris
Keeping my end steadily in view, I designed a black-letter type which I think I may claim to be as readable as a Roman one, and to say the truth I prefer it to the Roman. William Morris
Classification
Classification
21. A Note by William Morris on his Aims in Founding the Kelmscott Press. Together with a Short Description of the Press by S. C. Cockerell, & an Annotated List of the Books Printed Thereat. Hammersmith, London, 1908.
established in 1891. Troy type contained every characteristic that a black-letter type should have. For instance, the high contrast between the thick and thin strokes, extra serif at the end of vertical and horizontal stroke of the letterforms, and pointy rough edges. Black-letter typefaces also contained the horizontal serifs, and the similarity vertical stroke width. The typeface mainly based on the old written medieval manuscript.
25
W
illiam Morris [Figure 14] expressed his aspiration about the making of a black-letter typeface with Gothic style. Under the influence of Schoeffer of Mainz, Zainer of Augsburg, and Koberger of Numemberg, Morris created Troy Type using great prime (18 point) as the measure unit.21 One year later, he created Chaucer Type that similar to Troy but in a smaller version using pica (12 point) instead of the great primer to use in the smaller size of the book. Morris used these typefaces along with Golden type for his own private press called the Kelmscott Press
Type Foundries
W Figure 15 Homer’s Illias
illiam Morris intentionally designed Golden Type, Troy Type, and Chaucer Type for his own private press so that the typefaces were not idealized to use in other publisher. There was only one printed book using an interpretation of Troy Type outside of the Kelmscott Press. In 1910, a modern version of Troy Type was rarely used for the title page of vol 38 in the book called “Homer’s Illias” translated by Johann Heinrich Vois and edited by Julius Ziehen [Figure 15]. The complete typeset has been used in various of books publiced by The Kelmscott Press. The typesets included the basic alphabets with uppercase and lowercase as well as the punctuations and the graphic elements [Figure 16]. The modern Troy typeface was created by German foundries and had different variation such as Morris-Gotisch by Berthold, Archiv-Gotisch by AG fur SchriftgieBerei and Uncial-Gotisch by Woellmer.22
22. M orris Troy. Fonts in Use. Accessed October 5, 2017. https://fontsinuse.com/typefaces/5417/morris-troy.
27 William Morris and His Typefaces
Figure 16 Specimen Sheet of Kelmscott Press Type
William Morris and His Typefaces
28
SATANICK TYPEFACE
W
illiam Morris designed his own typefaces only to use in his private press. However, when other type foundries started to modify his typefaces and used them for commercial purpose, Morris was not pleased at all. Despite the fact that Morris was not approve any type foundries to use his typefaces and made the modification, in 1896, American Type Founder created an unofficial version of Troy Type called Satanick by a designer named Joseph Warren Phinney23 [Figure 17].
Figure 17 The Satanick typeface, an unofficial copy of Troy type
23. Morris Troy.� Fonts in Use. Accessed October 5, 2017. https://fontsinuse.com/typefaces/5417/morris-troy.
29 William Morris and His Typefaces
30 William Morris and His Typefaces
Satanick had a modern version that can be used digitally [Figure 18]. Unlike the original Troy Type, Satanick had wider letter spacing and inconsistent kerning between the characters. The letter spacing in between words in Troy Type was tight and the kerning was consistent. Satanick had a thicker stroke than Troy so the types appeared to be darker and bolder. As a result, Satanick acquired more space to layout the text than Troy. Moreover, Satanick did not have a complete glyph set. The typeface did not come with the full punctuation group set. The apostrophe, slash, and quotation mark symbol were missing from the glyph set.
SATANICK TYPEFACE
Figure 18 Satanick typeface alphabet
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0123456789 . , ? : ; - () & !
William Morris and His Typefaces
32
P22 MORRIS TROY
T
he digital verison of Troy was created by P22 a foundry that specializes in migratting historical typefaces across technologies [Figure 19]. In the printing history, a lot of different typefaces were created to use in a specific press. P22 Type Foundry focuses on the old typefaces that were not made to use commercially in the first place. The foundry based on the handcrafted old typefaces to design a digital version that can be use in the computer-based system. Based on the art and historical aspects, the foundry developed precise forms for a complete glyph set for a variety of typefaces.24
P22 MORRIS TROY
24. P 22 Type Foundry. P22 Type Foundry. Accessed October 07,2017. https://www.p22.com/about-P22_Type_Foundry
Type Foundries
Figure 19 P22 Type Foundry logo
P22 Morris Troy had a complete glyph set included all the letters and pronunciations. Kegler tried to keep the original version of Troy, but also did some modification in order to simplify the letterforms. P22 Morris Troy had an evenly letter spacing. The kerning between the characters was a little bit wider than the original Troy Type version. Because the type is mainly used on the computer-based system, the letterforms needed to be cleaner so that it would be easier to read from the screen.
33
I
n 2001, Richard Kegler recreated a modern version of William Morris typefaces called P22 Morris. The font set came with three different versions of Morris typefaces, which included Morris Golden, Morris Troy, and Morris Ornaments. P22 Morris Troy was known as the most accurate rendering of Troy than other previous digital version.
34 William Morris and His Typefaces
In term of the individual characters, there were not a lot of differences between the original version and the modern version of Troy [Figure 20]. However, when putting the characters together as a paragraph, it was easy to distinguish between the two. The big different between the original Troy Type versus P22 Morris Troy was the leading. The space between baseline to baseline in the original Troy Type was pretty tight. Some of the letterforms with a long descender such as uppercase Y were almost touch the ascender of the uppercase S bellow. In contrast, the leading in P22 Morris Troy was wider than the size of the characters. The default leading was made using the standard leading system, which is 120% bigger than the text size. With the digital version of Troy, people can easily change the leading setting to fit with the design’s purpose.
Figure 20 P22 Morris Troy typeface alphabet
ABCDEFGHIJ KLMNOPQRS TUVWXYZ a bcde f ghijkl m n o pq rstuvwxyz 01234 56789 , . <> ?/;:’” [] {}+=_()* &^%$ # @!~`
Type Anatomy
T
he most wellknown as the most precise digital version of Troy Type was P22 Morris Troy. The typeface came with the uppercase and lowercase as well as the complete punctuation set. The letterforms had a clear contrast between the thick and thin vertical strokes along with the thin diagonal strokes. The typeface had sharp angle strokes on the lowercase. The x-height was slightly tall compared to the cap line [Figure 21].
Some letters such as uppercase A, H, M, N had a thin horizontal serif. Uppercase L and X had a sharp serif while uppercase R, Y, and Z had a softer and pointy serif. Letter O and Q had a diagonal stress. Also the form of O and Q was slightly pointy with the oval counter. The tail of the letter Q aligned with its diagonal stress. The letter P had an open bowl facing to the left of the letter. The dots contained in the lowercase I and J had a diagonal form. With uppercase M and N, the left strokes extended below the baseline and slightly curve.
Figure 21 P22 Morris Troy typeface alphabet
AHMN LX RYZ OQ ij thin horizontal serif
sharp serif
softer and pointy serif
diagonal stress
diagonal form
P22 Morris Troy vs Lucida Blackletter
L
ucida Blackletter belonged to the Lucida family designed by Bigelow and Holmes in 1985 [Figure 22]. Compared to other black-letter typefaces such as Fraktur, Textura, and Rotunda, P22 Morris Troy and Lucida Blackletter had a greater legibility. Both P22 Morris Troy and Lucida Blackletter shared the same basic black-letter characteristics. The strokes from both of them had a great contrast between the thickness and thinness. The two typefaces shared the sharp and pointy edges.
However, P22 Morris Troy had more curve edges and had a softer form than Lucida Blackletter [Figure 23]. P22 Morris Troy performed with thicker strokes and straight vertical forms, while Lucida Blackletter had thinner strokes and some of the vertical strokes had slightly arc form. Lucida Blackletter contained decorative aspects. Moreover, the kerning between the letters of Lucida Blackletter was tighter and the serif of the uppercase letter such as R and A was touching if placed next to each other. In contrast, the kerning between P22 Morris Troy was evenly spread out and none of the letter touching each other [Figure 24].
This is Lucida Blackletter This is P22 Morris Troy Figure 22 Lucida Blackletter and P22 Morris Troy
ABCDEFGHI JKLMNOPQR STUVWXYZ Lucida Blackletter
a bc de f g h ijklm n o p qrs t u vwxyz 0 1 2 34 5 6 7 8 9 ,. <>? /; : ’ ” []{}+ = _ ( ) * &^% $ # @! ~ ` Figure 23 Lucida Blackletter alphabet
ABCDEFGHIJ KLMNOPQRS TUVWXYZ P22 Morris Troy
abcdef g hijklm nopqrst uvw xyz 0 12 3 4 5 678 9 ,.< >? / ;:’ ” [ ]{}+=_() *& ^% $ #@!~` Figure 24 P22 Morris Troy alphabet
William Morris and His Typefaces
42
Conclusion
W
illiam Morris created Morris Troy in order to use in his own private press called Kelmscott Press [Figure 25]. His desire was to recreate handcraft books with elaborate woodcut illustration. Morris sucessfully created his own typefaces to use in his own press. Troy Type was inspired by Blackletter and Gothic Style. Morris wanted to create a readable typeface but still keeping the original aesthetic of a blackletter. Troy type had a clear different between the thickness and thinness of the strokes. The typeface also could be recognized by the angular pointy edges and the thin diagonal serif. Also the typeface needed to work well with the illustration around the border. His ideal book was the perfect combination between readability and the visual aspect.
43 Conclusion
Figure 25 Printerâ&#x20AC;&#x2122;s mark design by William Morris (used in the smaller volume)
Bibliography
Alexandre X., Lawson. Anatomy of a Typface. Boston: David R. Godine, 1990. Ersites, T.H. William Morris and the Kelmscott Press. Vol. X, No. 3. American Book Collector, 1959, 19. Mackail, J.W. The Life of William Morris. n.p.: New York, B.Blom, 1968, 14-15. McGinley, Helen. The Kelmscott Chaucer. Tale of Mystery and Pagination. Trinity College Dublin, the University of Dublin. May 26, 2016. Accessed October 05, 2017. http://www.tcd.ie/library/epb/ blog/2016/05/the-kelmscott-chaucer/. Meggs, Phillip B. Meggs’ History of Graphic Design. John Wiley & Sons, 2016, 192.
Peter Stansky. Morris, William. Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 4, 2017, http://www.oxfordartonline.com. proxy-bc.researchport.umd.edu/subscriber/article/ grove/art/T059724. Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. Updike, Daniel Berkerly. Printing Type Their History, Form, and Uses. Oak Knoll Press. A Note by William Morris on his Aims in Founding the Kelmscott Press. Together with a Short Description of the Press by S. C. Cockerell, & an Annotated List of the Books Printed Thereat. Hammersmith, London, 1908. The Kelmscott Chaucer. British Library, accessed October 05, 2017, https://www.bl.uk/collection-items/the-kelmscott-chaucer P22 Type Foundry. P22 Type Foundry. Accessed October 07,2017. https://www.p22.com/about-P22_ Type_Foundry William Morris & Kelmscott. The Design Council, London, 1981 Morris Troy. Fonts in Use. Accessed October 5, 2017. https://fontsinuse.com/typefaces/5417/morris-troy.
Figure Contents
[Figure 1] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991.
[Figure 12] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991.
[Figure 2] William Morris & Kelmscott. The Design Council, London, 1981.
[Figure 13] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991.
[Figure 3] Todd, Pamela .The arts & crafts companion, 2004. [Figure 4] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. [Figure 5] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. [Figure 6] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. [Figure 7] Morris, William, and William S. Peterson. The Ideal Book: Essays and Lectures on the Arts of the Book. Berkeley, CA: University of California Press, 1982. [Figure 8] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. [Figure 9] Morris, William, and William S. Peterson. The Ideal Book: Essays and Lectures on the Arts of the Book. Berkeley, CA: University of California Press, 1982. [Figure 10] Morris, William, and William S. Peterson. The Ideal Book: Essays and Lectures on the Arts of the Book. Berkeley, CA: University of California Press, 1982. [Figure 11] Morris, William, and William S. Peterson. The Ideal Book: Essays and Lectures on the Arts of the Book. Berkeley, CA: University of California Press, 1982.
[Figure 14] William Morris & Kelmscott. The Design Council, London, 1981. [Figure 15] Morris Troy. Fonts in Use. Accessed October 5, 2017. https://fontsinuse.com/typefaces/5417/ morris-troy. [Figure 16] Morris, William, and William S. Peterson. The Ideal Book: Essays and Lectures on the Arts of the Book. Berkeley, CA: University of California Press, 1982. [Figure 17] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991. [Figure 18] Mac, Huyen. 2017. [Figure 19] P22 Type Foundry. P22 Type Foundry. Accessed October 07,2017. https://www.p22.com/ about-P22_Type_Foundry. [Figure 20] Mac, Huyen. 2017. [Figure 21] Mac, Huyen. 2017. [Figure 22] Mac, Huyen. 2017. [Figure 23] Mac, Huyen. 2017. [Figure 24] Mac, Huyen. 2017. [Figure 25] Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. University of California Press, 1991.
The book is used P22 Morris Troy designed by Richard Kegler in 2001, a modification of Morris Troy designed by William Morris in 1892. Set in Source Sans Pro, and Futura. Printed at Commonvision, UMBC. Designed by Huyen Mac ART430/Typography III/Fall 2017/UMBC
47 William Morris and His Typefaces