Carlo Bassani, Il Pittore di Caratteri : Alfabeti Artistici in Colore, Milano, 1890

https://archive.org/details/gri_33125016465821/page/n45/mode/2up

#Calligraphy #Lettering #Alphabets #1890s #19thCentury

Sam Berlow of @nprofile1q... interviewed by @nprofile1q... for type.today journal: https://type.today/en/journal/thetypefounders/. Good questions and fairly transparent answers. This is the most I’ve read about their business.

“When we started this, the designers were thinking: how am I going to stop running this business and still get paid for my intellectual property? And the only real option was to sell to Monotype. So our idea was to come up with a different kind of plan, where you could sell your foundry — but continue to work. Your foundry would still have a place on the internet, its history would be preserved, and it could continue to grow even after the sale. We wanted to reassure designers that their legacy would continue.”

#TypeIndustry #TheTypeFounders #TypeDesign #Fonts

When you’re writing a book on type history, and diving into thousands of specimens, stuff starts to stick out that you may never have noticed before. Here’s a little thread about Flöckinger’s piano and Sternat’s head.

In 1925 Berthold ran a competition in Austria for ads using their typefaces. Results were published in the “Wiener Anzeigen Wettbewerb” booklet of 1925.

Winners were 1st: Prize Karl Jenau, Görkau in Bohemia (Odol); 2nd: Hermann Sternat, Innsbruck in Tyrol (Brostene Column); 3rd: Josef Richly, Katharein in Schles (HBW). Hans Flöckinger of Innsbruck also got several honorable mentions.

The samples show typefaces like Wiener Grotesk https://fontsinuse.com/typefaces/42287/wiener-grotesk, Block https://fontsinuse.com/typefaces/7572/berthold-block & Akzidenz-Grotesk https://fontsinuse.com/typefaces/76/akzidenz-grotesk in modernist layouts.