Lost Letterforms Preview by Joe Leadbeater

L�st Letterf�rms

Joe Leadbeater

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

-1

Neue Haas Unica

-4

Doves Type

-8

Times Modern

Typefaces This Book Revives

Typefaces Used In This Book

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz ?! £$% &*().,- / [ ]

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.

Neue Haas

Unica 210pt

Typefaces Used In This Book

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.

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.

Typefaces Used In This Book

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.

“ 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.

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.

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,

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

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.

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.

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). Please see next spread on stated characteristics and how they are used.

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.

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

Pt Size: 250

Technicalities 01 02 03 04

Asc Height: 800 Cap Height: 770 X Height: 538 Des Height: -212

Pt Size: 250

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

�ypogra�e Übermittlun visualisiert tischen �nf

e ist die ng einer ten, semanformation. Pt Size: 170

Pt Size: 100

Swashes �was�e� Swas�es S�as�es

Pt Size: 100 Pt Size: 170

Alternatives �lter�atives �lter�ati�es Alte�na�ives

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

214 Pt Size: 170

Characters

Pt Size: 495 Pt Size: 140

Typefaces This Book Revives

Sourced Books Pre-digital books were sourced, with selected letterforms digitalised. Images are 1:1 scale.

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

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..... For Image Reference.

It is a low contrast, and catagorised as a regular.

Morning Bells 01

MORNING Pt Size: 180

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: 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

07 05

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..... For Image Reference.

The angle of letterforms are at 45 degrees.

Morning Bells 02 02

01 / 02

ur Grea x mple.

01 / 02 03

Pt size: 155 45째

Technicalities 01 02 03 04

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

Stated Characteristics

Location

This typeface sobyfarit'sonly consists 10 calligraphic characters, Characterised flared serif'sofand all uppercase. It isof a low _____ serifwould that strokes, the start this contrast uppercase typeface utlises classical proportions. define it as a humanist serif.as shown by the the square O and G. The typeface uses an oblique stress, as It is a low contrast, catagorisedC.as a regular. demonstrated withand the uppercase

Book: Morning Bells Author: Frances Radley Havergal Placement On Book: Back Inside Cover See Page..... For Image Reference.

Title Morning Bells 02

S R RAN ES HAVERGAL 06

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: 133 Uppercase Curved Horizontal Thickness: 139

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

Racing Annual 1967 - Webster's Publications

â&#x20AC;&#x153;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: ..........

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..... For Image Reference.

Racing Annual 01

A ING 07

Pt size: 175

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: 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

This typeface so far only consists of 10 acharacters, A densely kerned sans serif italic, with heavy all uppercase. is a contrast low contrast _____ serif that weight, with aItlow between vertical's and utlises classicalAnproportions. as shown by the the horizontals. obvious characterised feature can square O and in the ink trapG. of the Uppercase G.

Book: Racing Annual 1967 Author: N / A Placement On Book: Front Cover

It is a low contrast, and catagorised as a regular.

See Page..... For Image Reference.

Title Annual 02 Racing

ONE GO D BE EACH DAY 08

Pt size: 90

75Ë&#x161;

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

English Literature - Stopford A. Brooke, M.A.

â&#x20AC;&#x153;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

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..... For Image Reference.

It is a low contrast, and catagorised as a regular.

English Literature 01

EN LIS Pt Size: 125

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: 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

L TERATURE

A Doctor's Faith Holds Fast - Christopher Woodard

â&#x20AC;&#x153;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

Stated Characteristics

Location

A stencil all uppercase typeface, with a heavy weight and chunky serifs. An obvious characteristic is the size of the uppercase T's serif.s

A Doctor's Faith Holds Fast Author: Frances Radley Havergal Page Inside Book: Inside Cover See Page..... For Image Reference.

A Doctor's Faith Holds Fast 01

DOCTO FAITH 02

Pt Size: 250

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: 90 Uppercase Straight Horizontal Thickness: 227 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

The Woodworker Magazine

â&#x20AC;&#x153;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

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..... For Image Reference.

The Woodworker Magazine 01

WOOD WORKER

Pt size: 175

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: 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

Book: Racing Annual 1967 Author: N / A Placement On Book: Front Cover

It is a low contrast, and catagorised as a regular.

See Page..... For Image Reference.

The TitleWoodworker Magazine 02

A 50-EGG INCUBATOR 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

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..... For Image Reference.

The Woodworker Magazine 03

SALE AND EXCHANGE Pt size: 175

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: 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

Book: Racing Annual 1967 Author: N / A Placement On Book: Front Cover

It is a low contrast, and catagorised as a regular.

See Page..... For Image Reference.

The TitleWoodworker Magazine 04

CATALOGUE NO.18 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

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..... For Image Reference.

The Woodworker Magazine 05

PLEASURE and PROFIT ! Pt size: 175

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: 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

Book: Racing Annual 1967 Author: N / A Placement On Book: Front Cover

It is a low contrast, and catagorised as a regular.

See Page..... For Image Reference.

The TitleWoodworker Magazine 06

HANDICRAFTS 1932 ANNUAL

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

The Model Engineer & Practical Electrician Magazine â&#x20AC;&#x153;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

Stated Characteristics

Location

A stencil all uppercase typeface, with a heavy weight and chunky serifs. An obvious characteristic is the size of the uppercase T's serif.s

A Doctor's Faith Holds Fast Author: Frances Radley Havergal Page Inside Book: Inside Cover See Page..... For Image Reference.

The Model Engineer 01

Pt Size: 250

GA M

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: 90 Uppercase Straight Horizontal Thickness: 227 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

AGES

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..... For Image Reference.

The Model Engineer 02

An Attractive Offer Pt size: 175

Stated Characteristics Technicalities This so farN/A only consists of05 10 characters, Uppercase Straight Vertical Thickness: 208 Asc Height: 01 typeface all It is a low that Straight Horizontal Thickness: 53 Uppercase Cap Height: 700 contrast _____ 02 uppercase. 06 serif utlises classical proportions. as shown by the the 03 X Height: N/A 07 Uppercase Curved Vertical Thickness: 266 square O and G. N/A Height: 04 Des 08 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

It is a low contrast, and catagorised as a regular.

Title

PERCIVAL MAR SHALL & CO.

Pt size: 90

Technicalities 01 02 03 04

Asc Height: Cap Height: X Height: Des Height:

05 06 07 08

Uppercase Straight Vertical Thickness: Uppercase Straight Horizontal Thickness: Uppercase Curved Vertical Thickness: Uppercase Curved Horizontal Thickness:

09 10 11 12

Lowercase Straight Vertical Thickness: Lowercase Straight Horizontal Thickness: Lowercase Curved Vertical Thickness: Lowercase Curved Horizontal Thickness:

Typefaces This Book Revives

Sourced Imagery Images taken 2 14/2 15 in London, Leeds and Amsterdam.

Location: Amsterdam Estimated Date of Production: 1930's.

209

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..... For Image Reference.

-&KUNSTMEDERIJ �� H.J.LIGTERMOED

Pt size: 175

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: 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: Amsterdam Estimated Date of Production: 1930's.

Location: Leeds Estimated Date of Production: 1887

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: Front Cover See Page..... For Image Reference.

CHARLES WALKER&ďż˝ MILL FURNISHERS 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

Location: Shoreditch, London Estimated Date of Production: 1960's

Location: Leeds Estimated Date of Production: 1950's

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: Front Cover See Page..... For Image Reference.

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