American Type Founders (list of types)
American Type Founders was the largest producer of foundry type in the world, not only of in-house designs, but also from designs that came from merged firms;
ATF Designs
These foundry types were designed and produced by American Type Founders:
- Abbott Oldstyle (1901, Joseph W. Phinney)
- Adscript (1914, Morris Fuller Benton)
- Agency Gothic (1933, Morris Fuller Benton)
- Alternate Gothic, Nos. 1,2,3 (1903, Morris Fuller Benton)
- American Backslant (1934, Morris Fuller Benton)
- American Text (1932, Morris Fuller Benton)
- Americana (1967, Richard Isbell), this was the last face ever cut by ATF.
- Announcement Roman + Italic (1918, Morris Fuller Benton)
- Antique Shaded (1914, Morris Fuller Benton), cut on a new shading machine invented by Linn Boyd Benton.
- Bank Gothic series
- Baron's Boston News Letter (1904, Frederic Goudy), a private face cut for Joseph Baron's financial newsletter, matrices cut by Wiebking
- Baskerville Roman + Italic (1915, Morris Fuller Benton), after the Fry Foundry version.
- Benton (1934, Morris Fuller Benton), designed as Cambridge, released as Benton, reïntroduced in 1953 as Whitehall.
- Bodoni series, first American revival of the faces of Giambattista Bodoni.
- Bodoni (1909, Morris Fuller Benton)
- Bodoni Italic (1910, Morris Fuller Benton)
- Bodoni Book (1910, Morris Fuller Benton)
- Bodoni Book Italic (1911, Morris Fuller Benton)
- Bodoni Bold + Italic (1911, Morris Fuller Benton)
- Bodoni Bold Shaded (1912, Morris Fuller Benton)
- Bodoni Shaded Initials (1914, Morris Fuller Benton)
- Card Bodoni (1915, Morris Fuller Benton)
- Card Bodoni Bold (1917, Morris Fuller Benton)
- Bodoni Open (1918, Morris Fuller Benton)
- Bodoni Book Expanded (1924, Morris Fuller Benton)
- Ultra Bodoni + italic(1928, Morris Fuller Benton)
- Bodoni Bold Condensed (1933, Morris Fuller Benton)
- Ultra Bodoni Condensed + extra condensed (1933, Morris Fuller Benton)
- Engravers Bodoni (1933, Morris Fuller Benton), designed in 1926.
- Bold Antique (1904, Morris Fuller Benton)
- Bologna (1946), also cast by Stephenson Blake.
- Bookman Series
- Bradley Text (1895, Joseph W. Phinney), developed from Will H. Bradley's lettering on the Christmas cover of Inland Printer Magazine by either Phinney or Herman Ihlenberg.
- Broadway (1928, Morris Fuller Benton), capital letters only.
- Bulfinch Oldstyle (1903, Morris Fuller Benton), commissioned by the Curtis Publishing Company and prepared by Benton for production from original designs by William Martin Johnson. The “house face” of Ladies’ Home Journal from 1903, offered for general use in 1905.
- Bulmer Roman (1926, Morris Fuller Benton), based on a face cut by [[Bulmer (typeface, Morris Fuller Benton)|William Martin]] for the printer William Bulmer in 1790.
- Canterbury (1926, Morris Fuller Benton)
- Card Roman (1925, Morris Fuller Benton)
- Caxton Initials (1905, Frederic Goudy), font included twenty-six capitals and one leaf ornament only.
- Century series
- Century Roman sub-series
- Century Oldstyle sub-series
- Century Catalog sub-series
- Century Schoolbook sub-series
- Cheltenham series
- Cheltenham (1903, Bertram Goodhue, Ingalls Kimball, Morris Fuller Benton and/or Joseph W. Phinney)
- Cheltenham Bold (1903, Morris Fuller Benton)
- Cheltenham Bold Condensed (1904, Morris Fuller Benton)
- Cheltenham Bold Italic + Cheltenham Bold Condensed Italic + Cheltenham Wide + Cheltenham Bold Outline (1905, Morris Fuller Benton)
- Cheltenham Bold Extra Condensed + Cheltenham Bold Extended (1906, Morris Fuller Benton)
- Cheltenham Inline + Cheltenham Inline Extra Condensed'
- Cheltenham Inline Extended (1907, Morris Fuller Benton)
- Cheltenham Oldstyle Condensed + Cheltenham Medium (1909, Morris Fuller Benton)
- Cheltenham Medium Italic + Cheltenham Extra Bold (1910, Morris Fuller Benton)
- Cheltenham Bold Shaded + Cheltenham Bold Italic Shaded + Cheltenham Extra Bold Shaded (1912, Morris Fuller Benton)
- Cheltenham Medium Condensed + Cheltenham Medium Expanded (1913, Morris Fuller Benton)
- Chic (1928, Morris Fuller Benton)
- Civilité (1922, Morris Fuller Benton), a modern adaptation of Robert Granjon’s face cut in 1557.
- Clearface series, designed with the help of his father, Linn Boyd Benton.
- Clearface Gothic (1910, Morris Fuller Benton)
- Cloister series
- Cloister Old Style (1913, Morris Fuller Benton), based on the 1470 Venetian face of Nicolas Jenson.
- Cloister Italic (1913, Morris Fuller Benton), based on the 1501 italic face of Aldus Manutius.
- Cloister Bold Condensed (1917, Morris Fuller Benton)
- Cloister Initials (1918, Frederic Goudy)
- Cloister Cursive (1922, Morris Fuller Benton)
- Cloister Lightface (1924, Morris Fuller Benton)
- Cloister Lightface Italic (1925, Morris Fuller Benton)
- Cloister Cursive Handtooled (1926, Morris Fuller Benton), with Charles H. Becker.
- Cloister Black (1904, Morris Fuller Benton), usually credited to Joseph W. Phinney, but many authorities give full credit to Benton. It is an adaptation of Priory Text, an 1870’s version of William Caslon’s Caslon Text of 1734. Lower-case letters are identical with Phinney's erlier Flemish Black.
- Collier Old Style (1919, Frederic Goudy), a private type for Proctor & Collier, a Cincinnati advertising agency, matrices cut by Wiebking.
- Contact (1944, F. H. Riley)
- Commercial Script (1908, Morris Fuller Benton)
- Copperplate series A continuation of a series originally cast by Marder, Luse, & Co..
- Craw Clarendon (1955-60, Freeman Craw)
- Craw Modern (1958-64, Freeman Craw)
- Cromwell (1913, Morris Fuller Benton), uses capital letters from Benton’s Cloister Old Style.
- Cushing (1905, Morris Fuller Benton), design suggested by J. Stearns Cushing. (Cushing Antique was a Ludlow face.)
- Della Robbia series
- Devens Script (1898, Joseph W. Phinney)
- Dynamic Medium (1930, Morris Fuller Benton)
- Eagle Bold (1934, Morris Fuller Benton), a variant of Novel Gothic, designed for the NRA, used on their Blue Eagle posters.
- Elmora (1968)
- Empire (1937, Morris Fuller Benton), no lower-case.
- Engravers Bold (1902, also cast by Barnhart Brothers & Spindler, Morris Fuller Benton)
- Engravers Old English (1906, Morris Fuller Benton), based upon Caslon Text and designed in association with "Cowan" or perhaps Joseph W. Phinney.
- Engravers Shaded (1906, Morris Fuller Benton)
- Lithographic Shaded (1914, Morris Fuller Benton + W. F. Capitian), a half-shaded version of Engravers Shaded.
- Engravers Text (1930, Morris Fuller Benton)
- Flemish Black (1902, Joseph W. Phinney)
- Franklin Gothic series, the patriarch of American sans-serif faces, named for Benjamin Franklin, America’s greatest printer.
- Freehand (1917, Morris Fuller Benton)
- Gallia (1927, Wadsworth A. Parker), some sources attribute this to Morris Fuller Benton.
- Garamond series, based upon the designs of 16th-century type founder, Claude Garamond.
- Globe Gothic (c. 1900, Morris Fuller Benton), a refinement of Taylor Gothic, designed by ATF vice-president Joseph W. Phinney in 1897 for Charles H. Taylor for the exclusive use of the Boston Globe.
- Goudy Cursive (1916, Frederic Goudy)
- Goudy Old Style series
- Goudy Handtooled + italic (1922 Wadsworth A. Parker), alternately credited to either Charles H. Becker or Morris Fuller Benton.
- Goudytype (1928, Frederic Goudy), designed and cut in 1916, not cast and sold until later.
- Gravure (1927, Morris Fuller Benton)
- Graybar (1930, Wadsworth A. Parker)
- Greeting Monotone (1927, Morris Fuller Benton)
- Headline Gothic (1936, Morris Fuller Benton), not to be confused with the Ludlow font of the same name.
- Hobo (1910, Morris Fuller Benton)
- Invitation Shaded (1916, Morris Fuller Benton)
- Jenson Series
- Lexington (1926, Wadsworth A. Parker with Clarence P. Hornung)
- Lightline Gothic (1908, Morris Fuller Benton), essentially a News Gothic ultra light.
- Louvaine series
- Louvaine (medium) + Italic (1929, Morris Fuller Benton)
- Louvaine Light + Italic
- Louvaine Bold + Italic
- Miehle Extra Condensed + Title (1905, Morris Fuller Benton)
- Modernique (1928, Morris Fuller Benton)
- Modernistic (1928, Wadsworth A. Parker)
- Monotone Gothic (1907, Morris Fuller Benton)
- Motto (1915, Morris Fuller Benton)
- National Old Style (1916, Frederic Goudy), quite similar to his Nabisco.
- News Gothic series
- Norwood Roman (1906, Morris Fuller Benton), made for J. S. Cushing’s Norwood Press.
- Novel Gothic (1928, Morris Fuller Benton), completed from drawings by ATF matrix cuter Charles H. Becker.
- Pabst Old Style or Pabst Roman (1902, Frederic Goudy), based on hand lettering done by Goudy for advertisements for the Pabst Brewing Company, though commissioned by Schlesinger & Mayer, a Chicago department store. Cast by Frederic Goudy with the proviso that the department store would have the exclusive use of the font for a time before it would be offered to the public. These were the first matrices cut by Robert Wiebking for Goudy.
- Packard (1913, Morris Fuller Benton), based on lettering by Oz Cooper
- Paramount (1929, Morris Fuller Benton)
- Parisian (1928, Morris Fuller Benton)
- Phenix (1935, Morris Fuller Benton), originally called Acquitaine.
- Piranesi series
- Poster Gothic (1934, Morris Fuller Benton), essentially larger sizes (24 pt. +) of Bank Gothic Condensed Medium.
- Raleigh Gothic (Condensed) (1932, Morris Fuller Benton)
- Rockwell Antique (1931, Morris Fuller Benton), an updating of Inland Type Foundry’s Litho Antique, later revised yet again as Stymie Bold.
- Roycroft (c. 1898, Morris Fuller Benton ), inspired by lettering in the Saturday Evening Post and often credited to Lewis Buddy.
- Rugged Roman (1917, Morris Fuller Benton), designed 1909-11, patented in 1915, earliest showing 1917.
- Satanick (1896, Joseph W. Phinney), based on William Morris's Troy and Chaucer, matrices cut by John F. Cumming from drawings by Phinney.
- Souvenir (1914, Morris Fuller Benton), later Ed Benguiat’s photo-type versions of this type would achieve huge popularity.
- Schoolbook Oldstyle (1924, Morris Fuller Benton)
- Shadow (1934, Morris Fuller Benton)
- Sterling (1917, Morris Fuller Benton)
- Stymie series , cast up to 288 point, Stymie is believed to be the largest type ever to be cast in regular molds. The “W” alone weighed two pounds!
- Taylor Gothic (1897, Joseph W. Phinney), capitals only, lower-case based on Central Type Foundry of St. Louis' Quentell. Later re-worked by either Morris Fuller Benton or Goudy as Globe Gothic.
- Thermotype (1931, Morris Fuller Benton), with three widths on the same basic design they prefigured the failed Univers by some twenty years.
- Thompson Quill Script (1953, Tommy Thompson), this was also made availible for phototypesetting by Photo Lettering Inc..
- Touraine Oldstyle Italic (1898, Joseph W. Phinney)
- Tower (1934, Morris Fuller Benton), similar to Stymie Medium Condensed.
- Typo Roman Shaded (1924, Morris Fuller Benton)
- Typo Script + extended (1902, Morris Fuller Benton), originally ‘‘Tiffany Script’’.
- Typo Upright (1905, Morris Fuller Benton), originally Tiffany Upright
- Venetian + Italic (1911, Morris Fuller Benton)
- Wedding Text (1901, Morris Fuller Benton)
Barnhart Brothers & Spindler
These foundry types were originally cast by Barnhart Brothers & Spindler:
- Boul Mich (1927, Oz Cooper)
- Cooper series
- Cooper (1918, Oz Cooper) originally Cooper Oldstyle Roman
- Cooper Italic (1924, Oz Cooper) included swash characters.
- Cooper Black series
- Cooper Black + Italic + Hilite (1922, Oz Cooper), this became ATF's second-best-selling type, after Copperplate Gothic.
- Cooper Black Condensed (1926, Oz Cooper) 20% lighter than the Cooper Black, the designer described it as “condensed but not squeezed.”
- Cooper Tooled Italic, not designed by Oz Cooper, but was actually a knock-off of a Cooper Italic by a German foundry.
- Cooper Fullface + Italic (1929, Oz Cooper)
- Dietz Text (c. 1927, Oz Cooper), from original drawings made by August Dietz.
- Fifteenth Century (c. 1897, Berne Nadall), later released by ATF as Caslon Antique.
- Pompeian Cursive (1927, Oz Cooper)
Bruce Type Foundry
These foundry types were originally cast by the Bruce Type Foundry:
Central Type Foundry
These foundry types were originally cast by the Central Type Foundry of Saint Louis:
Dickenson Type Foundry
These foundry types were originally cast by Dickenson Type Foundry:
Inland Type Foundry
These foundry types were originally cast by Inland Type Foundry:
- Card Litho + Card Light Litho (1917, Morris Fuller Benton), a modification of a 1907 Inland Type Foundry design that ATF had acquired when the companies merged in 1912.
- American Caslon (1919, Morris Fuller Benton), based on the Inland Type Foundry's Inland New Caslon, a version of a face originally cut by William Caslon in the 18th century.
- Light Oldstyle (1916), probably an old front from Inland Type Foundry, but sometimes credited to Morris Fuller Benton.
- Litho Antique, later updated as Rockwell Antique.
- Pen Print Open (1921, Morris Fuller Benton), based on the Inland Type Foundry design of 1911.
Keystone Type Foundry
These foundry types were originally cast by Keystone Type Foundry:
- John Hancock (1905)
- Powell (1903, Frederic Goudy), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned Pabst Old Style for another store), and named after him.
Marder, Luse, & Co.
These foundry types were originally cast by Marder, Luse, & Co.:
H.C. Hansen Type Foundry
These foundry types were originally cast by H.C. Hansen Type Foundry:
Nineteenth Century Faces
These foundry types were cast before the consolidation by unspecified foundries:[2]
- Altona
- Octic
- Telescope
- Turius
References
- Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X.
- MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4.
- Rollins, Carl Purlington American Type Designers and Their Work. in Print, V. 4, #1.
- ^ McGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4, p. 25. Other sources, noltably Jaspert, credit this face to BB&S, while McGrew speculates that some of the sizes might actually have been cast from the Bruce Foundry's Italian Condensed #341.
- ^ Lawson, Alexander S., Anatomy of a Typeface, David R. Godine, Publisher, Boston, Massachusets, 1990, ISBN 0-87923-333-8, p. 297.