Archived entries for capital C

15 line No. 507

picture and printed proof of 15 line No. 507 wood type capital letter C

Antique Tuscan X Condensed No. 11

picture and printed proof of Antique Tuscan X Condensed No. 11 wood type capital letter C

4 line Gothic No. 2064

image and printed proof of a Gothic No. 2064 wood type capital letter C

30 line Gothic No. 81

12 line Arabian

4 line De Vinne

6 line Aldine

Not expanded, not condensed; just right.

8 line Aldine Expanded

15 line Antique Tuscan

24 line French Clarendon

C for Yourself

18 line Unit Gothic No. 720 Class M

The slightly flared and angled terminals distinguish this sturdy sans serif from the typical, monoline Gothic design with horizontal terminals.

10 line Gothic Condensed Octagon Shade

C No Evil

18 line Keynote

Willard T. Sniffin, the man responsible for such American Type Foundry classics as Raleigh Cursive, Piranesi, Newport, and Rivoli, designed Keynote in 1933. It is an informal brush script with unconnected letters and only a slight inclination, which allowed it to be cast – or cut  in the case of wood type – on a straight body.

This font of side-grain type has seen very little use since its production: the varnish on the face has started to break down, and the proof gives the appearance of delaminated wood; the normal build up of grime and ink that results from regular employment is absent, the curves of the face are slightly ragged; and the router bit marks are clearly evident in the counters of the type body. There is no manufacturer’s imprint.

See

12 line Ionic

Ionic belongs to the Antique category of wood types. Characterized by heavy, bracketed, slab-serifs, Ionic is very similar, often indistinguishable from Clarendon. In fact the names have been used interchangeably. For more background, see Mitja Miklavcic’s excellent essay, Three chapters in the development of clarendon/ionic typefaces.

Unfortunately, my font is missing the G and the 1, and I don’t have the lowercase. Despite its age (see the imprint note below), all of the present characters are in remarkably good condition.

I was pleased to find the following imprint: V.W. & Co. 18 Dutch’s Street, NY, indicating that this font was likely made between 1864–1867 before the Vanderburgh, Wells & Co. factory in Paterson, New Jersey burned to the ground, and the wood type-making machinery was moved to New York. Here’s a rubbing of the imprint:



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