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Typo: A Monthly Newspaper and Literary Review, Volume 6

Type Specimens

page 60

Type Specimens.

Another beautifully-printed specimen comes to us from the Keystone Foundry. The first section of the Keystone Border again appears, « re-arranged, and very much improved, by substituting new characters for those which were too fine for general use. » Somehow, we do not like it as well as in its original form. Section 12 is a Rustic border, self-contained, and which does not combine with the others. It is formed of logs, which (of course) never taper, no matter how long they may be. Only seven characters are shown and numbered in the synopsis, but two or three more appear in the illustrative examples. The idea is a very old one, but there is a certain amount of novelty in the treatment. Section 13 is a Scroll border, torn and scrolled edges on a tint background, much in the style of recent designs by MacKellar. In this case, however, the design works in with preceding sections, and may be justified to a nonpareil em in either direction. In most of the MacKellar groundworks, no matter how small the unit of design, the printer must make shift with a 24· unit of measurement, and patch up with some other combination if his measure is an odd number of picas. DeVinne Condensed, from 6· to 48·, is a narrower form of the new and popular style known as DeVinne. Old-style Title Slope, 6· to 36·, is a bold and useful letter.

Marder, Luse & Co., have now brought out Contour Pointers, being the fourteen characters already noted, in outline. This adapts the series not only to two-color work, but to the numerous series of outline styles, under the general name of Contour, produced by this firm.

Under the name of Mediæval Steinschrift, a new face has been produced by Schelter & Giesecke. It is a sanserif with lowercase, intended to harmonize with old-style type. As the character of old-face is chiefly indicated by the serifs, the problem of adapting the style to sans is not an easy one. It has already been once or twice attempted; and we do not consider the result in any case as entirely satisfactory. From what we remember of former examples, however, we think that they are surpassed by the new letter, which is brought out in ten sizes.

Messrs J. John Sohne, Hamburg, send us two sheets of specimens of their original designs. First we note the Hamburg, a beautifully designed and engraved combination in the Gothic Renaissance style, containing the moderate number of 14 characters from 12· to 48·. It joins up perfectly, and the curves are flowing and graceful. The drawing of the leaves in characters 1, 2, and 9, in particular, is exquisite. There are four series. No. 12 is the border with solid background; No. 13 stippled; 14-15 the same arranged for two-color work. For illuminated work, the latter would be difficult to surpass. The second sheet contains a pretty and cheap collection of 48 original tail - pieces, assorted sizes, all good, and some of very choice design.

Barnhart Bros. & Spindler have brought out a new style of heavy latin with lowercase, entitled Fair. It is sufficiently original to be striking, and is decidedly legible. There are a few decidedly ugly letters, but the effect on the whole is very good, and it is a letter that will suit customers. It is moderately condensed, being somewhat narrower in set than ordinary roman. In four sizes, 12· to 36·. Sturdy is a wide face, otherwise very similar in character to the preceding. In six sizes, 10· to 48·. Anchor is to a condensed old-style roman what Fair is to an ordinary latin. Eccentric, striking, and legible. Nine sizes, 6· to 48·. Moorish Open, in four sizes, an outline style, is, we presume, cut to register with the corresponding solid face. A larger size (36·) is added to the graceful series of Hazel Script. Three new 12· running borders—all good—are added to the Unique series. The Florette combination, 7 characters, is cheap, neat, pretty, and useful; and a clean-cut font of Checkers (draughts) completes a good show of novelties.

Messrs Palmer & Rey, on the Pacific Coast, are now originating faces of job letter. Recent sheets show Ramona, a fancy light-line style with several duplicate characters, besides logotype Th, Ch, Qu, nd, ng, ly, &c. It is something of the character of the old Chaucer, but with more freedom. Three sizes, 18· to 30·. Palo Alto is an open eccentric with lowercase; and Santa Cruz, caps only, is an open condensed fancy latin. Both styles in two sizes, 18· and 24·. They are only suited for light work. There are three plain faces, of which we cannot certainly say they are original: a roman Extra Condensed No. 4 with lowercase, eleven sizes, 12· to 120·; Art Old-Style, a very serviceable light antique; and Gothic Condensed No. 5, a sans with lowercase in ten sizes, 6· to 48·. All these are of everyday use, and are fully supplied with accents.