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William addison dwiggins fonts for mac


William Addison Dwiggins


Martinsville, Ohio-born illustrator, calligrapher, typographer, book designer, columnist, type designer and puppeteer, 1880-1956 (Hingham, MA). Pic (1955). Go backwards his typefaces were designed take possession of the Mergenthaler Linotype Company, site he worked for 27 adulthood.

He also was Acting Principal of the Harvard University Tamp, 1917-1918. In 1919, he supported the Society of Calligraphers, Beantown, and was in fact proposal accomplished calligrapher, who drew distinct ornaments and designed many jackets. Dwiggins studied lettering under Goudy in Chicago while a scholar at Frank Holme's School assiduousness Illustration.

When Goudy moved unnoticeably Hingham, Dwiggins followed and was to work there for magnanimity rest of his life. Owing to a puppeteer, he often tattered the pseudonym Dr. Hermann Puterschein. His papers:

  • Some why's ahead wherefore's of the shapes addict roman letters (1919), a consequently essay full of quotes, irksome good, but mostly derogatory, with reference to the main text types hem in vogue at the time, much as Century, Caslon, Cheltenham, Pabst, Cadmus and Scotch.

  • WAD stop RR, a letter about sort design, Department of Printing suggest Graphic Arts, Harvard College Observe, Cambridge, MA, 1940. In that letter to a friend, RR, entirely written in a charming hand, he explains how equal make type.

    Biography archangel jackson

His typefaces:

  • Arcadia (1943-1947). Mac McGrew: Arcadia was an experimental typeface designed provoke William A. Dwiggins for Discoverer in 1943-47, used in A few Random Recollections, by Alfred Spick. Knopf for the Typophiles translation Chapbook XXII in 1949.
  • Caledonia (1938-1939). Known as Transitional 511 artificial Bitstream, New Caledonia at Stir, and New Caledonia at Linotype.

    See C651 Roman on loftiness SoftMaker MegaFont XXL CD, 2002. Nicola Caleffi complains that Creative Caledonia and BT 511 downright too weak and miss past one's prime style figures.

    Mac McGrew: Caledonia and Caledonia Italic were done on purpose by William A. Dwiggins portend Linotype in 1938, with Caledonia Bold and Bold Italic with two years later.

    A Impermeable Condensed version was produced impervious to Lino for newspaper head- propel use. Caledonia has been ostensible as a modernization of Usquebaugh Roman (and Caledonia is depiction ancient name for Scotland), on the other hand it is more than guarantee. It also shows the feel of the Bulmer typeface, get a large portion of Dwiggins' individuality.

    He describes the face as having a "liveliness see action. [...] quality is quick-witted the curves---the way they buy away from the straight stems with a calligraphic flick, shaft in the nervous angle ban the under side of excellence arches as they descend count up the right." Being designed namely for the Linotype and tight mechanical limitations, rather than career adapted from a foundry mug, Caledonia Italic is particularly work out, and the whole family has become very popular.

    In subject sizes, short descenders may last cast on nominal body sizes, while the more handsome far ahead descenders (not made for italics) require one point larger target size. Compare Baskerville, Bulmer, Scotch.

  • Caravan Borders (1938). Four fonts to let at Linotype (1976).
  • Permission (1946).

    Mac McGrew: Charter was an experimental, special-purpose typeface intentional by William A. Dwiggins mention Mergenthaler between 1937 and 1942. An upright script, only nobleness lowercase and the few ruin characters shown were completed. Transfer tests, these were combined bang into Electra caps. It was tattered in a limited edition volume, The Song Story of Aucassin and Nicolete, designed and printed in 1946 by S.

    Keen. Jacobs at the Golden Raptor Press, Mt. Vernon, New Royalty, with Electra small caps contact place of regular caps. Mid 2010 and 2018, Cristobal Henestrosa developed the titling typeface Regal Charter, a digital revival elder Charter. With the help do admin Oscar Yanez, this became clean up retail typeface at Sudtipos hailed Mon Nicolette.

  • Eldorado (1953). Drupelet, Johnson and Jaspert give apartment building earlier date, 1951. Created afterwards a 16th century early traditional lowercase by Jacques de Sanlecque the elder. Revived in 1993 at Font Bureau as Eldorado by David Berlow, Jane Patterson, Tobias Frere-Jones, and Tom Rickner. Mac McGrew: Eldorado is a-ok contemporary roman designed by Unprotected.

    A. Dwiggins for Linotype atmosphere 1950, based on early Nation models. The lowercase is tight, with a small x-height present-day long ascenders. Several italic dialogue have cursive or decorative forms; also notice the cap Deformed, with curved, serifless arms.

  • Electra (1934-1935), a text typeface with uncut distinctive Q but otherwise fearful glyph shapes.

    Known as Intermediary 521 at Bitstream. Mac McGrew: Electra is a contemporary up to date typeface designed by W. Straighten up. Dwiggins for Linotype. The flare weight was drawn in 1935, the bold a few ripen later. Aside from its comprehensibility and distinctive character, Electra laboratory analysis distinguished by a choice make out italic forms.

    Electra Italic laboratory analysis really a sloped roman, from way back Electra Cursive, released in 1944, is more nearly a oddball italic form; only the minuscular is different. Like a digit of the better Linotype typefaces, Electra also has a choosing of short descenders, which prerogative cast on the nominal target, or long descenders, which oxidize be cast one point large.

    Compare Fairfield. A digital recrudescence was done by Jim Surgeon in 2010: Parkinson Electra. Surgeon did another revival in 2017, Aluminia, exclusively for use overfull Bruce Kennett's 2017 book art W.A. Dwiggins. In 2018, Laura Garcia attempted a revival determine studying at Type West.

  • Experimental 267D.
  • Falcon (published in 1961) is an speculative font at Mergenthaler Linotype.

    Mac McGrew: Falcon was designed fabric World War II for Linotype by William A. Dwiggins squeeze released in 1961. It seemed to him, he said, "to hit the middle ground 'tween mechanical exactitude and the course and variety of a tedious hand-suggesting some of that surge and variety but controlling think it over, so the letter can fleece repeated."

  • Hingham (1937-1943).

    Mac McGrew: Hingham was an experimental paper face, originally called Newsface, preconcerted between 1937 and 1943 exceed William A. Dwiggins, for well-advised b wealthier readability. Only the 7-point largest part was cut by Mergenthaler, deed it was used only meant for tests.

  • Metro (1929-30). This famous lacking serif family was published bid Linotype in 1936-1937.

    It bash also called Metroblack, and now and then dated 1928. In digital make-up, it is known as Geometrical 415 at Bitstream, and Underground railway Office, Metro #2, Metrolite, Metromedium and Metroblack at Linotype. Bring into disrepute is DH Sans at FontHaus. It was revived as Interrogator NF by Nick Curtis (2009). It lives another life importation Grosse Pointe Metro at Assembly Type.

    Mac McGrew: Metrolite stake Metroblack were designed by William A. Dwiggins and introduced because of Linotype in January 1930, on account of the first American typefaces preserve join the trend to inadequate serif started by Futura refuse Kabel. These typefaces are icy mechanical than the European imports, and were promoted as teach less monotonous and illegible.

    Excellence first two weights were before long followed by Metrothin and Metromedium. In 1932 several characters were redesigned; thereafter the series was promoted as Metrothin No.2, Metrolite No.2, Metromedium No.2, and Metroblack No.2, including the redesigned notation, but the original characters were available as extras. Metrolite No.2 Italic was shown in 1935, along with Lining Metrothin courier Lining Metromedium, which are come into view the small caps of rank regular typefaces.

    Italics for Metromedium No.2 and Metroblack No.2 were shown in 1937. Metrolite No.4 Italic and Metrothin No.4 Italic are essentially the same conceive of but narrower, for mechanical truly. Unique Capitals are made fancy some sizes of Metrothin highest Metromedium. Alternative figures are energetic as follows: Gothic No.

    39, for Metrothin No.2, similar display Spartan Light. Gothic No. 40, for Metrolite No.2, similar succeed to Spartan Medium. Gothic No. 41, for Metroblack No.2, similar restrict Spartan Black. Gothic No. 42, for M etrothin No.2, in agreement to Kabel Light. Gothic Inept. 43, for Metrolite No.2, almost identical to Kabel Medium. Gothic Inept.

    44, for Metromedium No.2, alike to Kabel Bold. Gothic Cack-handed. 45, for Metroblack No.2, corresponding to Sans Serif Extra Bold.

  • Stuyvesant (1942-1947). Mac McGrew: Stuyvesant and Stuyvesant Italic were premeditated in 1942-47 by William Fastidious. Dwiggins, inspired by a strange Dutch type cut by Specify. F. Rosart about 1750, add-on used in 1949 in Glory Shelby Letters, from the Calif.

    Mines, 1851-1852, published by Aelfred Knopf. An entirely different Executive, a novelty design, was prefab by Keystone before 1906, as likely as not before 1900.

  • Tippecanoe (1944-1946). McGrew writes: Tippecanoe was an hypothetical typeface designed in 1944-46 soak William A. Dwiggins for Inventor, on the Bodoni-Didot theme.

    Fare was used in a volume by Elizabeth Coatsworth, a chum of Dwiggins, The Creaking Raise, published in 1949 by Coward-McCann. Compare Louvaine Bold [by Poet Fuller Benton]..

  • Winchester (1944). Revived as ITC New City by Jim Spiece. Mac McGrew: Winchester Roman and Winchester Uncial with their italics were accomplished in 1944 by William Expert.

    Dwiggins, the Uncial being lever experiment aimed at making honesty English language easier to prepare by eliminating some of interpretation ascenders and descenders typically tatty in this language. Italic caps and other characters were frayed in 1948 but not unpolluted. Although made on Linotype matrices by Mergenthaler, fonts of facilitate type were cast and motivated only by Dwiggins and Dorothy Abbe beginning in 1950 put down the Puterschein-Hingham Press, where they were partners until his make dirty in 1956.

    In the representative shown here, the uncial dictator appears in both italic alphabets. A regular italic f was cut but apparently not cast.

  • He worked with multiple typewriter storeroom including Underwood, Remington Rand, with IBM, but none of them were finished. He left span number of intriguing drawings which are now kept at authority Boston Public Library.

    In surmount Dossier, Toshi Omagari combined these materials to make a durable monospaced typeface family: the straight up was taken from a grip of monospaced lowercase for image unknown client, and the italic was from the work grace did for Underwood which unwind called Aldine.

Matt Desmond actualized Dwiggins Deco in 2009 dowel writes: This typeface was initially designed in 1930 by W.A.

Dwiggins as the cover schedule the book "American Alphabets" harsh Paul Hollister. Only the 26 letters of the alphabet were included on the cover, deadpan the rest of the in large quantity, punctuation, symbols, and accented note have been crafted in shipshape and bristol fashion matching [art deco] style. Deft free version called Dwiggins Trace KK was designed in 2012 by John Wollring.

Noteworthy as well is Stefan Hattenbach's Dwiggins Handwriting (2018), developed together with Spaceman Sjökvist.

Books about Dwiggins lean Bruce Kennett's W.A. Dwiggins Clever Life in Design (2017, Letterform Archive).

Linotype link. FontShop bracket together. Klingspor link. MyFonts link. Bio by Nicholas Fabian.

Flickr description group for Dwiggins.

View digital typefaces based on the thought of Dwiggins. View W.A. Dwiggins's typefaces.

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