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August 2011

From Russia, with love

Cyrillic

Just earlier this evening I was talking about how I really ought to do some serious research into Cyrillic typography soon, and get a handle on the range of options for different styles of Cyrillic typefaces. And then this little beauty shows up, like a Post-It note for me.

stuffdoer:

Back.

Love type? Looking for work?

I'm passing this along on behalf of my employers at Monotype Imaging. We have an opening for a Field Marketing Representative to work out of the New York City area. This is not a design job, but more for a kind of "Typographic Consultant", someone to work with agencies and corporate customers in the US, mainly NYC.

Please visit the Monotype Imaging web site to see the official listing, in case there are any updates.

(Read the rest...)

The new era of type

In my official capacity, I wrote an opinion column for the latest issue (no. 192) of Computer Arts magazine about the state of digital type. I'm not sure if the article will be posted to their website, so just to be safe I'll include it here:

(Read the rest...)

Traveling companion

Paul Smith bag

I'm traveling in type-nerd style now. Well, I'm sure it just falls back to full-on nerdiness in my case. Nevertheless, I've been a little obsessed with this since I saw it a few months ago, so I finally gave in and treated myself.

So nerdy.

Yup.

Butch, 1925

sarasponda:

Butch, 1925

The Boys of Party Beach

Party Beach

It was never called Times Old Roman

Journalism is frustrating, because it has a way of making its errors become part of the public record, and then they take on a life of their own. So pardon my pedantry, but I want to clear up a couple of nerdy type things.

This article from The Daily, written by Katherine Eastland, talks about the murky history of the origins of Times New Roman, which may or may not have been the brainchild of Stanley Morison (the accepted version) or William Starling Burgess (a competing theory that arose in the late 80s). There's ongoing debate about the Morison/Burgess divide, and I'll admit that I tend to side with the more fully documented (both in general, and in agreement with what little I can find within Monotype to support it) notion that Times New Roman was based on Plantin, as art-directed by Morison and drawn by Victor Lardent and various people within the Monotype drawing office. I won't rule out the possibility that Starling Burgess drew up the concept first, but Occam's razor makes me doubt it.

However, there are a few outright factual errors in the article that have already been replicated in a BoingBoing post, and that's annoying.

Most of the trouble is in this paragraph:

"The original story of Times New Roman’s genesis goes like this: Morison wrote a blistering article in 1929 arguing that Times Old Roman, the font of The Times of London, was dated, clunky, badly printed and in need of help — his help. The paper listened and charged Morison with directing the creation of a new suite of letters. He did, and on Oct. 3, 1943, Times New Roman debuted on the bright white broadsheets of the London daily.

  1. It's not The Times of London. It's The Times.

  2. The new typeface — The Times New Roman — debuted on October 3, 1932, not 1943. The design was exclusively available to The Times for one year, and then made available to other customers on October 3, 1933. (Documented in a few places, but the reference I have in front of me is The Monotype Recorder vol. XXXI, no. 247, from September–October 1932. Complicating matters, this was misprinted as being vol. XXI, no. 246.)

  3. This is the big one: the previous face was not known as Times Old Roman. Jeez. Just think about it: why would something be known as "old" whatever before there was a new version? In fact — and this is documented in Printing in the Twentieth Century (published by The Times), The Monotype Recorder, and elsewhere — the various typefaces used before the introduction (The) Times New Roman didn't really have a formal name.

    They were a suite of types originally made by Miller and Co. (later Miller & Richards) in Edinburgh around 1813, generally referred to as "modern". When The Times began using Monotype (and other hot-metal machines) in 1908, this design was remade by Monotype for its equipment. As near as I can tell, it looks like Monotype Series no. 1 — Modern (which was based on a Miller & Richards typeface) — was what was used up until 1932.

I've come across "Times Old Roman" before, and I always thought it was just a lazy response to the puzzle of what the "new" was in Times New Roman. (It was simply the new roman for The Times, in fact.) While I was checking my facts to rant about this, though, it dawned on me that Monotype is responsible for the confusion because of this image illustrating the cover of that 1932 issue of The Monotype Recorder:

The Monotype Recorder, September-Octpber 1932

That's a photograph of two Monotype faces: Times New Roman and Series no. 1, Modern. That's all. It says "The Times Old Roman Type" because it's an illustration of the old roman type used by The Times, which was Modern, an old design that was no longer all that modern:

Monotype Series no. 1, Modern

Three GIFs for my best pal

Jack 1 Jack 2 Jack 3

[via GIFake]

Purveyor of High-Class Meat

E.C. Cuss, butcher

Isn't this an exquisite letterhead? Modernism had its place, but I really do miss the craftsmanship and exuberance of things like this.

Typodarium 2012

Typodarium - Copse

I contributed to the Typodarium 2012 calendar with Copse and Astloch.

(Read the rest...)

Exciting New Gay Magazines

tumblr_lpo3h4yWPg1qd3k14.jpg

Complete

complete_gay.jpg

Yup. Complete. Nothing else needed or available.

[via From Beyond the Unknown]

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