Typefoundry: Garamond or Garamont?
This small engraving (47 by 28 mm) was included by Léonard Gaultier towards the end of the 16th century in his ‘Portraits of illustrious men who have flourished in France since the year 1500 until the present’. It is the only image we have of the maker of printing types whose name has been better known for longer than that of any other. It gives his name as ‘Claude Garamont’. Was this how he spelt
Typefoundry: Lettres à jour: public stencil lettering in France
Last edited 13 September 2010 Almost since my first visit to France I have been delighted by the look of the improvised public notices that are made with stencils, pochoirs, or (to use a more old-fashioned term) lettres à jour – letters pierced in metal that let the daylight show through them. Quite often the setting-out is irregular, even chaotic, but in France the roman letters are beautiful and
Typefoundry: A lost Caslon type: Long Primer No 1
When the 18th-century types of the Caslon foundry were recast from surviving matrices in the 19th century, not all of the original types were revived. One of these missing types is the subject of this essay. The first surviving Caslon type specimen sheet, issued from Ironmonger Row and bearing the date 1734, shows two roman types with the body of Long Primer (very approximately ten points), No 1 a
Typefoundry: Recasting Caslon Old Face
The heading to the image above claims authentic historical origins for the type that is shown. Something like it was often used in presenting the Caslon ‘Old Face’ types to the customers of the typefounders H. W. Caslon & Co. The example is from a finely-printed large quarto specimen that the foundry produced in about 1896 in order to promote the type more widely. The title page reads, Specimens o
Typefoundry: Roman tragedy
A decade ago the great collection of Roman inscriptions at the Museo Nazionale in Rome, not far from the Termini railway station, was expertly reorganized. The inscriptions are now beautifully shown in a context that explains their purpose, and a very full guide is available, the work of Rosanna Friggeri, one of the organizers of the new display. To many former visitors one of the most visible tre
Typefoundry: Big brass matrices again: the Enschedé ‘Chalcographia’ type
In the post of 19 March 2007 it was suggested that existing brass matrices for big types could not have been struck with steel punches in so hard a hard metal as brass, but were probably reproductions cast in brass of strikes that had been made in lead with steel punches. Examples that were cited were the ‘large capitals’ of Garamond at the Museum Plantin-Moretus, titling capitals among the ‘Fell
Typefoundry: Long s
In most works printed before about 1800 two forms of the lower-case s were used. One was the s that is still in use today; the other was the long s, a character which looks like f without the right-hand part of its crossbar. The italic form of long s usually lacks the ‘crossbar’ altogether. (The image above is a detail of the showing of Pica No. 2 in William Caslon, Specimen of Printing Types, Lon
Typefoundry: An unrecorded inscription by Eric Gill?
To judge by its lettering, this tablet, in the church of St Peter and St Paul at Northleach, Gloucestershire, must be the work of Eric Gill. Not a brilliant photograph, made with flash and (one may as well admit it) with its verticals adjusted in Photoshop. But since this example is not in the list of Gill’s inscriptional work compiled by his brother Evan, nor among the additions made to it by Dav
Typefoundry: Scotch Roman
William Miller, A specimen of printing types. Edinburgh, 1822 In his Typographia, 1825, p. 361, T. C. Hansard wrote that the English punchcutter Richard Austin ‘executed’ most of the founts of the two Scotch foundries of Alexander Wilson in Glasgow and William Miller in Edinburgh. In his Practical hints on decorative printing (1822) William Savage had made the comment that Miller’s types ‘so much
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Typefoundry: Number Ten
Typefoundry: The image of the Proclamation of the Irish Republic 1916
Typefoundry: Eric Gill’s R: the Italian connection
Typefoundry: The Trieste leaf: a Bodoni forgery?
Typefoundry: Cast brass matrices made for Pierre Didot
Typefoundry: Type bodies compared
Typefoundry: Esszet or ß
Typefoundry: The Caslon tomb at St Luke’s, Old Street
Typefoundry: John Smith’s <em>Printer’s Grammar</em>, 1755
Typefoundry: Fallen and threaded types
Typefoundry: Big brass matrices: a mystery resolved?