L�st Letterf�rms
Joe Leadbeater
Typefaces are ubiquitous, and have been for centuries. Whilst many are born to communicate, many are also lost. In the attic, above the off license, behind an old sign, at the bottom of a cardboard box found at a deceased relatives. Remains of these typefaces from the past are everywhere. You just need to find them.
Typefaces Used In This Book 09
Neue Haas Unica
19
Doves Type
31
Times Modern
Typefaces This Book Revives 45
Sourced Books
108 Sourced Imagery
50
Morning Bells
Amsterdam
62
Racing Annual
110 112
66
A Doctor's Faith Holds Fast
114 118
Leeds
116
London
70
The Woodworker
88
The Model Engineer & Practical Electrician
Typefaces Used In This Book
6
7
ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz ?! £$% &*().,- / [ ]
8
Neue Haas Unica is Monotype’s revival of a typeface that has attained almost mythical status in the type community. Unica was an attempt to create the ultimate sans-serif – a hybrid of Helvetica, Univers and Akzidenz Grotesk. Designed by Team ’77 and released to great acclaim in 1980, Unica went missing under a heap of legal disputes and has never been available as a full, digital typeface. Until now.
Unica’s story starts in the 1970s. Electronic, on-screen phototypesetting was gaining popularity, but most sans-serif typefaces on the market had been designed earlier, in the era of metal type. The revered Haas Type Foundry in Münchenstein, Switzerland, saw the chance to develop a new sans-serif face that was optimized for the new technology and filled the gap in the market. To develop their new product, they turned to Swiss type design trio, Team ’77 (André Gürtler, Christian Mengelt and Erich Gschwind). Team ’77 set out to design a font based on Helvetica but drawing on other sans-serif typefaces, principally Univers. The name they gave it would also be a hybrid of the two. They went about the task with forensic rigour. Working from prints of Helvetica, Univers and Akzidenz Grotesk, the trio identified, compared and evaluated the finest of details, creating a new-generation sans-serif that eliminated the imperfections of its predecessors. “Unica was designed to be different,” said André Gürtler; “sharper than Helvetica, warmer than Univers, cleaner than Akzidenz.” Released in 1980, Unica hit the sweet spot. It was clean, understated and elegant. But it found only limited success. Desktop publishing software rendered phototypesetting obsolete. Unica became entangled in a dispute over ownership and disappeared from the market. The typographic love-child became the lost child. Lost no more. For 2015, Monotype’s Toshi Omagari has given this classic a fresh, digital lease of life, with a full set of weights, an extended range of glyphs and multi-language support.
Zeichen Bücher Netze at Deutsche Nationalbibliothek. Artwork Published 2012. Designed by Lamm & Kirch.
9
10
11
Neue Haas 12
Unica 210pt 13
14
15
Typefaces Used In This Book
16
17
18
The Doves Type legend is one of the most enduring in typographic history and probably the most infamous. It’s the story of a typeface and a bitter feud between the two partners of Hammersmith’s celebrated Doves Press, Thomas James Cobden-Sanderson and Emery Walker, leading to the protracted disposal of their unique metal type into London’s River Thames. Starting in 1913 with the initial dumping of the punches and matrices, by the end of January 1917 an increasingly frail Cobden-Sanderson had made hundreds of clandestine trips under cover of darkness to Hammersmith Bridge and systematically thrown 12lb parcels of metal type into the murky depths below. One century later and a new chapter has been added with the release of Robert Green’s digital facsimile of the Doves Type, available to buy and download from Typespec.
Some of the rusted metal type that has been sourced from the Thames by Robert Green. The process to digitalising must have been extremely difficult due to the erosion and weathering the time has caused.
19
20
The Story of Doves Type
The original Doves Type was crafted by master punchcutter Edward Prince, based on drawings produced by Percy Tiffin of Nicolas Jenson’s pioneering 15th-century Venetian type. William Morris, founder of the Kelmscott Press, had actually developed his own ‘Golden’ type some years before The Doves Press came into being but Doves is held by experts as being more faithful to the original Venetian letterforms. The Doves Type was commissioned in 1899 and created solely by Prince in 16 pt; it was used in all of the press’s publications including their iconic edition of the King James Bible. Each Doves Press book was beautifully bound and, notes Green, noticeably “stripped of decorative borders and illustration, the elegantly clear & legible type acting alone as visual siren-song.” By 1908, despite successful Milton prints & the aforementioned Bible, the Press was in dire financial difficulty due to dwindling subscriptions and its two partners began their bitter and acrimonious dispute. Walker issued a writ insisting the Press be closed and he receive 50% of its remaining assets after Cobden-Sanderson had dissolved the partnership without notice; in 1909 the only valuable remaining asset was the type. The thought of ‘his’ typeface being used by anyone else, and in a manner beyond his control, prompted Cobden-Sanderson’s now infamous course of action. Only the Doves Press, run exclusively by him, could be bestowed the honour of printing his type. And so the mission to destroy it, beginning with the punches and matrices on Good Friday 1913, began. On an almost nightly basis from August 1916 the ailing septuagenarian dumped the type into the Thames, wrapped in paper parcels and tied with string; “bequeathed to the river” as he put it in his personal diary. Every piece of this beautiful typeface, more than a ton of metal, was destroyed in a prolonged ritual sacrifice. Green’s quest to re-produce the Doves Type in digital form has been a true labour of love, a project he came close to shelving on several occasions due to the paucity of (affordable) source texts and occasional blind alleys he was inadvertently taken the complex geometries, then individual letterform dilemmas due to ink spread inconsistencies and anomalies in the punches and matrices. The end result isn’t so much a revival as a ‘digital facsimile’ of the original typeface, but most importantly he’s succeeded in doing justice to it. The first release (2013) in OpenType format was an Imprint weight, complete with ligatures and detailing from the metal predecessor; Green wanted to be as true to the original as possible but there are concessions to modern day requirements in the form of Dollar & Euro currency symbols plus extended latin diacritics which didn’t feature first time around. Doves Type® Regular, refined after recovery of the original metal type from the Thames, replaces the initial 2013 release and will be followed by a digital reworking of Edward Johnston’s decorative caps for the Doves Type.
THE DOVES TYPE® is Robert Green’s digital recreation of the Doves Press Fount of Type.
Punches & matrices thrown into the River Thames by T. J. Cobden-Sanderson, March 1913.
Original type conceived, commissioned & directed by T. J. Cobden-Sanderson, London, 1899.
Entire type dropped into the River Thames by T. J. Cobden-Sanderson, August 1916 — January 1917.
Developed by Emery Walker, assisted by Percy Tiffin, at Walker & Boutall, London, 1899 — 1900.
Digital Doves Type® developed 2010 — 2015. OpenType Version 1.0 released December 2013. Version 2.0 released January 2015.
Punches cut by Edward Prince, London, 1899 — 1901. Left: The result of a digitilisation and recreation of one of Doves Type typeset within a bible.
Produced in a single size, 2 Line Brevier (16 pt), by Miller & Richard, Edinburgh, 1899 — 1905.
Above: A close-up of a paragraph glyph, originally printed.
First sorts delivered October 1899, full fount of characters completed July 1901.
Created using sources from original Doves Press publications & 150 metal sorts recovered from the River Thames by Robert Green & the Port of London Authority salvage team, October & November 2014.
21
22
23
24
25
Typefaces Used In This Book
28
29
Left: The 1001 years of yearning (2002). Suhrkamp maintained the paperback identity for over 30 years, but unfortunately was watered down over time, and Times Modern was no longer used. Mid: The Acne Jeans logo process as suggested by Zachary Ohlman Below: Twen magazine, December 1970.
30
“ Type that feels so familiar but every guess is slightly off. I immediately thought of Times, but the details here are sharper (‘S’), more dramatic (‘E’), with wedge-like serifs. The whole thing is more narrow than Times, with stronger contrast, indicating that this is a variation designed specifically for display use. "
Right: Willy Fleckhaus’ 1970s covers from Suhrkamp’s Taschenbuch Wissenschaft (science paperback) series. Umlauts are placed to the side of capital letters to accommodate the tight linespacing.
31
Top Left: ITC Grouch used in a two-volume catalogue, displaying the recently designed Home Collection of Vitra. Top Right: Caslon Graphique on a bookcover. Trafalgar Publishing House. Artwork by Jonathan Lun. Mid Left: Branding for Jonas Kleerup by Kurppa Hosk, set in Caslon Graphique.
32
A Typeface With Many Faces The reason Times Modern is so tough to locate is that it is a font that was available digitally for years, but then silently yanked from the market, and thus the web — meeting the same fate as fonts like Haas Unica and ITC Didi. Complicating research even further, there are multiple designs known as “Times Modern”. Most articles we find today refer to the typeface designed by Luke Prowse and Neville Brody in 2006 for a redesign of The Times of London. And later, Eduardo Manso created Sunday Times Modern, an unrelated family for The Sunday Times. This Times Modern, on the other hand, is a pre-digital design. But it’s unclear just how old it is. The history of Times New Roman is, of course,
a very long and thorny one, and there’s no need to go into that. Suffice it to say, this Times Modern appears to be entirely separate from Times or Times New Roman. It can be assumed that it was produced in the 1960s or ’70s, as it has the flavor of those off-kilter, high contrast headliners of the phototype era. Those who mourn the disappearance of EF Times Modern can still find like-minded eccentricities in type like Denver, ITC Grouch, Grumpy, Caslon Graphique, Benguiat Caslon, Cabernet, Troover Roman, Hawthorn, the new Superior Title, and more.
Right: Hawthorn In Use. Hawthorn contains the same bold eccentricities seen in Times Modern. Part of group show Salle d’attente III. Edited by Côme De Bouchony and Vincent de Hoÿm
33
Times Modern Swash — 1960's Designer Unknown
“Times Modern”, found in the undated headline typefaces catalog of "Fotosetzerei Stuttgart". The text reads:Typography is the transmission of a visualized, semantic piece of information. This specimen is from a 1960's photoset type specimen, the exact date is not known.
34
Times Modern Swash — 2015 Digitalized by Joe Leadbeater
�ypografie ist die Übermittlung einer visualisierten, semantischen �nformation. A� � � Æ B � C��D �E�F�G�H�I�J� K � � � � �L���M���N��� � aæ����b��cçd����ef���� � �g�h������ij k��lm� � ��n����o�œøp��qr�s�ßt�� . ,:;?! ���� ����� �� � �� � ���� After coming across the specimen on the adjacent page, the 214 characters were digitalised and considered in terms of a point size and thickness. These characteristics were noted and kept to in order to create a consistent typefaces across all letterforms. The high res specimen allowed a very technical and precise revival, with very slight alterations made. Although the x-height, cap-height, and descender height were kept the same, the ascender height was made 2% larger to allow usage at a slight smaller display size (to suit this book).
Above: Times Modern Swash digitalised at 36pt with 39 pt leading. Although the metrics appears very tight above, this is simply to demonstrate the similarity between the revival and the original. This extremely tight kerning is typical of display typefaces from the era of production. The revived typeface still holds the same characteristics, but with kerning and metrics that are slightly more loose.
Please see next spread on stated characteristics and how they are used.
35
Stated Characteristics Times Modern Swash is a high contrast humanist serif. A large x-height, short ascenders and short descenders and tight metrics allow the typeface to be used for display at a larger point size, whilst taking up less space.
01 02
03
04
Pt Size: 250
36
Technicalities 01 02 03 04
Asc Height: 800 Cap Height: 770 X Height: 538 Des Height: -212
05 06 07 08
Uppercase Straight Vertical Thickness: 172 Uppercase Straight Horizontal Thickness: 38 Uppercase Curved Vertical Thickness: 187 Uppercase Curved Horizontal Thickness: 33
09 10 11 12
Lowercase Straight Vertical Thickness: 161 Lowercase Straight Horizontal Thickness: 52 Lowercase Curved Vertical Thickness: 23 Lowercase Curved Horizontal Thickness: 171
08
12
10
05 06 07 11
09
Pt Size: 250
37
38
�ypogra�e Übermittlun visualisiert tischen �nf
e ist die ng einer ten, semanďż˝ formation. Pt Size: 170
39
Pt Size: 100
Swashes �was�e� Swas�es S�as�es 40
Pt Size: 100 Pt Size: 170
Alternatives �lter�atives �lter�ati�es Alte�na�ives 41
Times M�dern Swash is a high contrast humanist serif. A large x-height, s��rt ascenders and sh�rt descenders and tight metrics all�� the type�ace t� be �sed f�r displa� at a larger p�int size, whilst taking up less s�ace.
Pt Size: 42
42
214 Pt Size: 170
Characters
Pt Size: 495 Pt Size: 140
43
Typefaces This Book Revives
44
Sourced Books Pre-digital books were sourced, with selected letterforms digitalised. Images are 1:1 scale.
45
46
47
Morning Bells - Frances Ridley Havergal
“So here are ‘Morning Bells' to waken up the little hearts, and to remind them that we must not only rest in Jesus, but walk in him”.
‘Morning Bells’ offers Christian readers the chance to read small stories about Jesus. Size: 90 x 130 x 7mm Year of Print: 1910 Publishers: Morrison & Gibb Ltd Pages for Typeface Revival: Cover page, p11, back cover page
48
49
Stated Characteristics
Location
This typeface so far only consists of 10 characters, all uppercase. It is a low contrast transitional serif that utilises classical proportions. as shown by the the square O and G.
Book: Morning Bells Author: Frances Radley Havergal Page Inside Book: Inside Cover See Page 51 For Image Reference.
It is a low contrast, and catagorised as a regular.
Morning Bells 01
02
MORNING Pt Size: 180
50
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 770 X Height: N/A Des Height: N/A
G
05 06 07 08
Uppercase Straight Vertical Thickness: 172 Uppercase Straight Horizontal Thickness: 38 Uppercase Curved Vertical Thickness: 187 Uppercase Curved Horizontal Thickness: 33
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
08
06
07 05
51
Stated Characteristics
Location
This typeface so far consists of 12 characters, upper and lowercase. It is a high contrast blackletter typeface, with obvious roots in calligraphy.
Book: Morning Bells Author: Frances Radley Havergal Placement On Book: p14 See Page 51 For Image Reference.
The angle of letterforms are at 45 degrees.
Morning Bells 02 02
01 / 02
ur Grea x mple.
03
02
01 / 02 03
02
02
Pt size: 155 45째
Technicalities 01 02 03 04
52
Asc Height: 706 Cap Height: 739 X Height: 585 Des Height: 201
05 06 07 08
Uppercase Straight Vertical Thickness: 162 Uppercase Straight Horizontal Thickness: 128 Uppercase Curved Vertical Thickness: 100 Uppercase Curved Horizontal Thickness: 106
09 10 11 12
Lowercase Straight Vertical Thickness: 97 Lowercase Straight Horizontal Thickness: 64 Lowercase Curved Vertical Thickness: 122 Lowercase Curved Horizontal Thickness: 48
02
Stated Characteristics
Location
Characterised by it's flared serif's and calligraphic strokes, the start of this uppercase typeface would define it as a humanist serif.
Book: Morning Bells Author: Frances Radley Havergal Placement On Book: Back Inside Cover
The typeface uses an oblique stress, as demonstrated with the uppercase C.
See Page 51 For Image Reference.
Morning Bells 02
02
05
S R RAN ES HAVERGAL 06
08
07
02
Pt size: 135
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 739 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 142 Uppercase Straight Horizontal Thickness: 57 Uppercase Curved Vertical Thickness: 139 Uppercase Curved Horizontal Thickness: 133
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
53
Racing Annual - Webster's Publications
“The Backpackers invaluable guide"
The 'Racing Annual 1967' is a guide to betting on horses of that specific year in the UK. The small publication mainly consists of odds when betting on specific horses. Size: 90 x 120 x 4mm Year of Print: 1967 Publishers: Websters Publications Ltd. Pages for Typeface Revival: Front Cover, P29.
54
55
56
57
Stated Characteristics
Location
This structural, geometric serif has a heavy weight, and should be used for display use. It can characterised by it's large slab serif's and the playful tail on the uppercase R.
Book: Racing Annual 1967 Author: N / A Placement On Book: Front Cover See Page 56 For Image Reference.
Racing Annual 01
02
06
05
A ING 07
08
Pt size: 175
Technicalities 01 02 03 04
58
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 208 Uppercase Straight Horizontal Thickness: 53 Uppercase Curved Vertical Thickness: 266 Uppercase Curved Horizontal Thickness: 81
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
Stated Characteristics
Location
A densely kerned sans serif italic, with a heavy weight, with a low contrast between vertical's and horizontals. An obvious characterised feature can in the ink trap of the Uppercase G.
Book: Racing Annual 1967 Author: N / A Placement On Book: P29 See Page 59 For Image Reference.
Racing Annual 02
02
05
07
ONE GO D BE EACH DAY 08
02
Pt size: 90
06
75Ëš
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 739 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 156 Uppercase Straight Horizontal Thickness: 244 Uppercase Curved Vertical Thickness: 279 Uppercase Curved Horizontal Thickness: 137
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
59
English Literature - Stopford A. Brooke, M.A.
“English Literature is the story of what great English men and women thought and felt, and then wrote down in good prose and beautiful poetry in the English Language. "
The documentation of English authors throughout history, up until the date the book was published. Examples include information on Chaucer, Elizabeth & Shakespeare. Size: 150 x 105 x 7mm Year of Print: 1913 Publishers: Macmillan & Co Pages for Typeface Revival: Front Cover
60
61
Stated Characteristics
Location
This low contrast transitional serif currently comporises of 11 characters, all uppercase. The most obvious characteristic of this typeface can be seen in the uppercase A, which appears to have borrowed a bar from the uppercase T.
Book: English Literature Author: Stopford A. Brooke Page Inside Book: Front Cover See Page 62 For Image Reference.
English Literature 01
02
EN LIS 07
08
Pt Size: 125
62
06
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 104 Uppercase Straight Horizontal Thickness: 49 Uppercase Curved Vertical Thickness: 121 Uppercase Curved Horizontal Thickness: 59
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
L TERATURE 05
63
A Doctor's Faith Holds Fast - Christopher Woodard
“Divine Healing does not stand still. New wonder-cures are still happening. We are still learning about the new manifestations of the mercy of Christ."
A collection of stories that pay attention to healing caused by spiritual belief. Size: 200 x 130 x 20mm Year of Print: 1955 Publishers: Max Parrish & Co. Pages for Typeface Revival: Front Cover
64
65
Stated Characteristics
Location
A stencil all uppercase display typeface, with a heavy weight and chunky serifs. An obvious characteristic is the size of the uppercase T's serifs.
A Doctor's Faith Holds Fast Author: Christoper Woodard Page Inside Book: Inside Cover See Page 67 For Image Reference.
A Doctor's Faith Holds Fast 01
DOCTO FAITH 02
07
08
02
05
Pt Size: 250
66
06
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 227 Uppercase Straight Horizontal Thickness: 69 Uppercase Curved Vertical Thickness: 240 Uppercase Curved Horizontal Thickness: 85
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
TOR'S H 67
The Woodworker
“No 18 Catalogue comprises tools for Woodworkers. "
An American magazine based around tools for Woodwork, as well as intructional articles on contructing furniture. Size: 250 x 185 x 3mm Year of Print: 1931 Publishers: N/A Pages for Typeface Revival: Front Cover, Inside Cover, p256, p267
68
69
70
71
72
73
74
75
Stated Characteristics
Location
This transitional serif has a slight shift in axis angle, but could be mainly characterised by it's odd uppercase proportions. Circular characterised are slightly wider than square, whilst other characters appear very thin.
Book: The Woodworker Author: N / A Placement On Book: Front Cover See Page 71 For Image Reference.
The Woodworker 01
WOOD WORKER
02
07
08
02
06
05
Pt size: 160
Technicalities 01 02 03 04
76
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 83 Uppercase Straight Horizontal Thickness: 50 Uppercase Curved Vertical Thickness: 54 Uppercase Curved Horizontal Thickness: 48
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
Stated Characteristics
Location
A transitional serif with a few humanist features. A shift in axis 15 degrees gives the circular letters a shift in their curves.
Book: The Woodworker Author: N / A Placement On Book: Front Cover
An obvious characteristic can be seen in Uppercase E's bottom hozrizontal bar.
See Page 71 For Image Reference.
The Woodworker 02
02
02
A 50-EGG INCUBATOR 06
05
07
08
75Ëš
Pt size: 115
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 124 Uppercase Straight Horizontal Thickness: 60 Uppercase Curved Vertical Thickness: 139 Uppercase Curved Horizontal Thickness: 62
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
77
HOW TO M 50 EGG IN —PAGE 280 Pt Size: 155
78
M AK E A NCUBATOR 0 79
Stated Characteristics
Location
This wide, all Uppercase display typeface contains large, flared slab serifs's.
Book: The Woodworker Author: N/A Placement On Book: Front Cover
The size of these serifs themselves characterise the typeface.
See Page 72 For Image Reference.
The Woodworker 03
06
02
SALE AND EXCHANGE 05
02
07
08
Pt size: 65
Technicalities 01 02 03 04
80
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 291 Uppercase Straight Horizontal Thickness: 155 Uppercase Curved Vertical Thickness: 304 Uppercase Curved Horizontal Thickness: 156
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
Stated Characteristics
Location
This condensed, humanist serif contains gradual, flared serifs that are also slightly cupped. The axis has been shifted 10 degrees, giving each letterform an 80 degree pen angle.
Book: The Woodworker Author: N/A Placement On Book: Front Cover See Page 73 For Image Reference.
The Woodworker 04
02
CATALOGUE NO.18 05
07
06
08
80Ëš
Pt size: 100
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 102 Uppercase Straight Horizontal Thickness: 70 Uppercase Curved Vertical Thickness: 109 Uppercase Curved Horizontal Thickness: 102
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
81
SALE EXCH
Pt Size: 164
82
AND HANGE
83
Stated Characteristics
Location
This serif has obvious engraved roots, as shown by the use of striking and sharp wedge serifs.
Book: The Woodworker Author: N / A Placement On Book: p256
An obvious feature is seen in the inconsistant height of the horizontal crossbars.
See Page 76 For Image Reference.
The Woodworker Magazine 05
PLEASURE and PR FIT !
02
06
05
02
07
08
Pt size: 125
Technicalities 01 02 03 04
84
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 113 Uppercase Straight Horizontal Thickness: 31 Uppercase Curved Vertical Thickness: 119 Uppercase Curved Horizontal Thickness: 53
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
Stated Characteristics
Location
A densely kerned serif, for large display use. The weight of each character is entirely monothickness, as the statistics for each type of character reads below.
Book: The Woodworker Author: N / A Placement On Book: p267 See Page 75 For Image Reference.
The Woodworker Magazine 06
HANDICRAFTS 1932 ANNUAL
02
07
08
02
05
06
Pt size: 120
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 739 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 114 Uppercase Straight Horizontal Thickness: 114 Uppercase Curved Vertical Thickness: 114 Uppercase Curved Horizontal Thickness: 114
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
85
The Model Engineer & Practical Electrician “A journal of Small Power Engineering"
A British magazine based around engineering, with a variety of adverts for tools and parts for machines and instruments. Size: 280 x 200 x 3mm Year of Print: 1935 Publishers: N/A Pages for Typeface Revival: Front Cover, IV
86
87
88
89
90
91
92
93
94
95
Stated Characteristics
Location
A heavily weighted, all Uppercase sans serif that is almost mono - thickness.
The Model Engineer & Practical Elecrtician Author: N / A Page Inside Book: Front Cover
An obvious feature is seen in the lack of horizontal bar of the Uppercase G.
See Page 89 For Image Reference.
The Model Engineer 01
02
07
GA M 08
Pt Size: 335
96
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 770 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 191 Uppercase Straight Horizontal Thickness: 202 Uppercase Curved Vertical Thickness: 198 Uppercase Curved Horizontal Thickness: 207
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
AGES 06
05
97
GA MA Pt Size: 335
98
AGES 99
Stated Characteristics
Location
A heavily weighted transitional serif, characterised by it's heavy weight, and subtle curves into it's serifs.
The Model Engineer & Practical Elecrtician Author: N / A Page Inside Book: IV See Page 92For Image Reference.
The Model Engineer 02
01 & 02
An Attractive Offer 10 09
Pt size: 85
100
12
11
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
02
05 06 07 08
09 10 11 12
Uppercase Straight Vertical Thickness: 254 Uppercase Straight Horizontal Thickness: 134 Uppercase Curved Vertical Thickness: 254 Uppercase Curved Horizontal Thickness: 124
Lowercase Straight Vertical Thickness: 226 Lowercase Straight Horizontal Thickness: 122 Lowercase Curved Vertical Thickness: 197 Lowercase Curved Horizontal Thickness: 142
PERCIVAL MAR SHALL & CO.
02
06
02
05
07
08
Pt size: 85
101
& Pt Size: 800
102
103
104
105
Typefaces This Book Revives
106
Sourced Imagery Images taken 2 14/2 15 in London, Leeds and Amsterdam.
107
Location: Jordaan, Amsterdam Estimated Date of Production: 1960's.
108
209 109
Stated Characteristics A geometric, all Uppercase typeface, with the potential for Drop Caps. An obvious feature can be seen in the heavily weighted Uppercase G.
02
06
-&KUNSTMEDERIJ ��� H.J.LIGTERMOED 05
02 03
07
08
Pt size: 175
Technicalities 01 02 03 04
110
Asc Height: N/A Cap Height: 700 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 208 Uppercase Straight Horizontal Thickness: 53 Uppercase Curved Vertical Thickness: 266 Uppercase Curved Horizontal Thickness: 81
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
Location: North Amsterdam Estimated Date of Production: 1930's.
111
Location: Leeds Estimated Date of Production: 1887
112
Stated Characteristics A quirkyUppercase serif with softened edges. Obvious characteristics can be seen in the flat curve of the ampersand, as well as an extremely curved tail in the Uppercase R.
07
CHARLES WALKER&ďż˝ MILL FURNISHERS 05 06
Pt size: 90
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 739 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 156 Uppercase Straight Horizontal Thickness: 244 Uppercase Curved Vertical Thickness: 137 Uppercase Curved Horizontal Thickness: 279
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
113
56 114
Location: Shoreditch, London Estimated Date of Production: 1960's
115
Location: Leeds Estimated Date of Production: 1970's
116
Stated Characteristics A geomtric sans serif with with all curved edges. An obvious feature can be seen in the rounded counters, where they touch the stem.
ORIGINAL HEIDELBERG CYLINDER 08
07
05
06
Pt size: 130
Technicalities 01 02 03 04
Asc Height: N/A Cap Height: 739 X Height: N/A Des Height: N/A
05 06 07 08
Uppercase Straight Vertical Thickness: 156 Uppercase Straight Horizontal Thickness: 244 Uppercase Curved Vertical Thickness: 137 Uppercase Curved Horizontal Thickness: 279
09 10 11 12
Lowercase Straight Vertical Thickness: N/A Lowercase Straight Horizontal Thickness: N/A Lowercase Curved Vertical Thickness: N/A Lowercase Curved Horizontal Thickness: N/A
117
118
Researched, designed and revived by Joe Leadbeater, 2015.