Typeface Index: A

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Abbey

By 1887. Cut by William W. Jackson for A. D. Farmer.

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Acadian (Cleveland)

13 June 1882. By Henry Schuenemann for Cleveland. Possible unattributed relation to Cirrous.

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Abbott (Abbot Oldstyle)

ATF No. 1. By 1898. Cumming & Phinney for ATF.

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Aldine (Page, in wood)

1870. Aldine and Aldine Ornamented. Wood Type. Page.

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Aldus Italic (Pacific States)

Cut by Gustave F. Schroeder for Pacific States Type Foundry Date unknown, but it must postdate his move to California in 1891. Shown in the Saxe/Johnston edition of Loy, p. 76.

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Almah

1890. Designed and cut by Henry Brehmer for Lindsay. (N.B., better known through its copy by Keystone as Crayonette.

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Aldine (Farmer)

By 1887. Farmer, Little & Co..

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Old Style Aldine (Farmer)

By 1891. Farmer, Little & Co..

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Antique, Modern

See Modern Antique.

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Antique No. 3 (Intertype)

Intertype Antique No. 3. Appears in a one-line specimen in my Intertype Faces specimen (p. 231) as 10 point Antique No. 3 with 12 Point Gothic Condensed No. 1, Font No. 768.

This face is identified by McGrew as equivalent to Lanston Monotype No. 76, Modern Antique Condensed.

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Antique No. 3 (Mergenthaler)

Mergenthaler Linotype Antique No. 3. Appears in the Mergenthaler Linotype Specimen Book of Type Styles (1915) in several one and two letter matrix series. Does not appear in Linotype Type Faces ("Big Red)" or in the 1937 Useful Matrix Information.

This face is identified by McGrew as equivalent to Lanston Monotype No. 76, Modern Antique Condensed.

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Antique No. 4 (Mergenthaler)

Mergenthaler Linotype Antique No. 4. Appears in the Mergenthaler Linotype Specimen Book of Type Styles (1915), p. 74, in 10 point on one-letter matrices. (But McGrew, in his discussion of Lanston Monotype No. 26, Modern Antique, gives it as 8 point.) Does not appear in Linotype Type Faces ("Big Red)" or in the 1937 Useful Matrix Information.

This face is identified by McGrew as equivalent to Lanston Monotype No. 26, Modern Antique. McGrew also relates it to Ionic No. 4.

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Antique No. 6 (Central)

Designed and cut for Central by Nicholas J. Werner. Shown in the Saxe/Johnston edition of Loy, p. 109; I presume the date given there, "circa 1983," should be 1893.

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Antique Shaded (Bruce)

In his discussion of Gold Rush, McGrew identifies Bruce's Antique Shaded with Bruce's Ornamented No. 1514.

Recut by ATF as Gold Rush (that in turn electroformed by John S. Carroll also as Gold Rush ( Replica Type Foundry?, Typefounders, Inc. [of Phoenix], Los Angeles Type Founders, Barco/F&S, Skyline Type Foundry); aka Klondike.) Unrelated to ATF No. 12, Antique Shaded.

Shown:

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Antique Shaded (ATF No. 12)

ATF No. 12, Antique Shaded.

N.B., distinct from Bruce Antique Shaded, which was recut by ATF as Gold Rush.

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Apollo (Central)

Cut by Gustave F. Schroeder while at Central Type Foundry Dated by Saxe in his edition of Loy to ca. 1889. Shown in the Saxe/Johnston edition of Loy, p. 74.

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Arboral (Weidemann Revival)

Name initially used by Harry Weidemann for what later became known more familiarly as Arboret (q.v.)

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Arboret)

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Arboret (Weidemann Revival)

This is a 20th century copy of MS&J's Arboret No. 2. It was the first revival done by Harry Weidemann. In Richard L. Hopkins' article "Death Claims Pioneer Private Typecaster; Shop Virtually Lost! Harry Weidemann." American Typecasting Fellowship Newsletter No. 7 (February, 1982): 6-10, Weidemann is quoted as saying "My first face was Arboret, which I called Arboral. I picked all the letters out of a can of scrap at Republic in Chicago. I cleaned up the type and we shipped it to Williams Engineering. in England to have the mats made..." (p. 7) This would have been in the late 1940s. See the discussion of Harry Weidemann for information on the possible disposition of these matrices. The Phoenix/LATF/Barco "antique" matrices were acquired by Skyline Type Foundry, and Skyline possesses the matrices for Arboret in both 12 and 24 point (though they are not yet listed in the 2011-02-11 edition of the STF Matrix Library).

Shown in:

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Arboret No. 2

By By Herman Ihlenburg for MacKellar, Smiths & Jordan. 1885. The cropped image at left will, when clicked upon, lead to a reduced-scale image of the entire page from the 1892 MSJ Specimens of Printing Types. Click here instead for the full-resolution (15 Megabyte) raw scan: specimensofprint00mackrich_raw_0283-rot90cw.png

US design patent no. 15,791, issued 1885-02-10 to Herman Ihlenburg. Filed 1885-01-14. "Design for a Font of Printing-Type." Assigned to MacKellar, Smiths & Jordan.

"... my design ... consists of a letter resembling the class known as 'antique,' shaded upon the right and below by a light line and ornamented by a ground-work of leaf-like ornaments." Shown with nine "ornamental affixes" (ornament sorts).

Copied in late 1940s by Harry Weidemann as Arboral; this later released by Typefounders, Inc. [of Phoenix], Los Angeles Type Founders, and Barco / F&S as simply Arboret.

Showings and sources:

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Archer

Barnhart Brothers & Spindler. Reviewed in The American Bookmaker Vol. 12, No. 5 (1891-05): 133-135.

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Argentine

1962 copy by John S. Carroll of [FINISH LINKS; see McGrew]

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Ariadne Initials

Letterforms by Gudrun Zapf - von Hesse for Stempel as companion open capitals for Diotima. See also Smaragd See Duensing, Paul Hayden. "On Type [column]: Diotima of Gudrun Zapf - von Hesse." Fine Print, Vol. 6, No. 4 (October 1980): 134-135.

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Arrighi

Cut by George Plumet to a design by Frederic Warde.

Arrighi was intended as an italic companion to Bruce Rogers' Centaur.

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Art Gothic (Central)

Cut by Gustave F. Schroeder while at the Central Type Foundry. Loy says that this was the first cutting by Schroeder, and that it was designed by him after a "suggestion" found by James A. St. John (co-founder of Central) "on the label of a soap box." As such, it is a documented example of the influence of lettering on type. Patented 17 May 1887. Shown in the Saxe/Johnston edition of Loy, p. 76.

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Art Gothic (Morgans & Wilcox)

A version in wood of Art Gothic (Central) (q.v.), used under license.

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Atlanta (Central, later ATF)

By 1885. Cut by Gustave F. Schroeder while at Central Type Foundry An early example of a lining typeface, and one distinguished by lining not only at the bottom but at the top and center. Uppercase only. Offered by ATF through at least 1900, but not shown in 1906. No ATF series number.


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