Archived entries for American Wood Type Mfg. Co.
The rhetorical tone of this statement coupled with this cropping reminds me of a delicious typographic fortune cookie.
Shadow was the American Wood Type Manufacturing Company’s version of Umbra, designed in 1932 by Robert Hunter Middleton for the Ludlow Typograph Company, Chicago. This 12 line font was purchased in 2010 from Virgin Wood Type. The majority of the blocks were new old stock. To complete the font, Bill Jones cut the missing characters from the AWT patterns.
Page 3 from the American Wood Type Mfg. Co. Catalog No. 36. Wondering what that sweet script/cursive face is that’s being used for the running headers and face identification? Oddly enough, it’s called Gillies Gothic. Working on building your letterpress library? Here’s a free high res download.
This price list was included with the recently acquired Catalog No. 36.
Metal type cabinets with 23 California Job cases and an angled work top for $83.50 – I’d be ecstatic to see a return to those prices!
This is the back (verso) side of a single sheet insert found inside a recently acquired American Wood Type Mfg. Co. Catalog No. 36.
This is the front (recto) side of a single sheet insert found inside a recently acquired American Wood Type Mfg. Co. Catalog No. 36.
Minimal wear, no manufacturer’s imprint, and a font cut from the side grain led me to believe this was cut by the American Wood Type Manufacturing Company, of Long Island, New York. The distinctive flattened bowls of the capital B, R, and D of this font directly match the showing of Newstype in my American Wood Type Mfg. Co. 1958–9 Catalog, shown below (notice the misspelling in the 6 line version):
Rob Roy Kelly identified three primary styles of wood type designs, Roman, Antique, and Gothic. A large majority of the secondary and tertiary styles are directly derived from the primaries. My collection contains many fine examples of Antiques and Gothics, but I am acutely aware of the paucity of Roman styled letters – this 8 line Ultra Bodoni Condensed capital L is a lonely sort – especially in the vein of the nineteenth century fat face. Nicolete Gray defined the fat face thusly:
. . . a large letter with (a) vertical shading, (b) abrupt modelling, so exaggerated that the thick stroke is nearly half as wide as the letter is high, and (c) certain characteristic forms, all tending to emphasize the roundness in the letters; R with a curly tail, short ranging J terminating in a round blob, Q with a tail making a loop with the bowl, S, C and G with barbed terminals and G with a pointed spur.
The roughness (clearly visible in the proof) on the right side (left in the proof) of the main stem is the result of poor cutting – or a lack of finishing – on the part of the manufacturer.