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A type foundry is a company that designs or distributes typefaces. Before digital typography, type foundries manufactured and sold metal and wood typefaces for hand typesetting, and matrices for line-casting machines like the Linotype and Monotype, for letterpress printers. Today's digital type foundries accumulate and distribute typefaces created by type designers, who may either be freelancers operating their own independent foundry, or employed by a foundry. Type foundries may also provide custom type design services.
Deberny & Peignot was a French type foundry, created by the 1923 merger of G. Peignot & Fils and Deberny & Cie. It was bought by the Haas Type Foundry (Switzerland) in 1972, which in turn was merged into D. Stempel AG in 1985, then into Linotype GmbH in 1989, and is now part of Monotype Corporation.
Caslon is the name given to serif typefaces designed by William Caslon I (c. 1692–1766) in London, or inspired by his work.
Goudy Old Style is an old-style serif typeface originally created by Frederic W. Goudy for American Type Founders (ATF) in 1915.
Stephenson Blake is an engineering company based in Sheffield, England. The company was active from the early 19th century as a type founder, remaining until the 1990s as the last active type foundry in Britain, since when it has diversified into specialist engineering.
The Bauer Type Foundry was a German type foundry founded in 1837 by Johann Christian Bauer in Frankfurt am Main. Noted typeface designers, among them Lucian Bernhard, Konrad Friedrich Bauer, Walter Baum, Heinrich Jost, Imre Reiner, Friedrich Hermann Ernst Schneidler, Emil Rudolf Weiß, and Heinrich Wienyck, designed typefaces for the company.
Robert Wiebking (1870–1927) was a German-American engraver typeface designer who was known for cutting type matrices for Frederic Goudy from 1911 to 1926.
Sol Hess was an American typeface designer. After a three-year scholarship course at Pennsylvania Museum School of Industrial Design, he began at Lanston Monotype in 1902, rising to typographic manager in 1922. He was a close friend and collaborator with Monotype art director Frederic Goudy, succeeding him in that position in 1940. Hess was particularly adept at expanding type faces into whole families, allowing him to complete 85 faces for Monotype, making him America's fourth most prolific type designer. While he was with Monotype, Hess worked on commissions for many prominent users of type, including, Crowell-Collier, Sears Roebuck, Montgomery Ward, Yale University Press, World Publishing Company, and Curtis Publishing for whom he re-designed the typography of their Saturday Evening Post.
Douglas Crawford McMurtrie was an American typeface designer, graphic designer, historian and bibliographer of printing.
Ludwig & Mayer was a German type foundry in Frankfurt am Main, Germany. Many important designers worked for the Ludwig and Mayer type foundry, including Heinrich Jost, Karlgeorg Hoefer, Helmut Matheis, and most notably Jakob Erbar, whose Erbar Book was one of the first geometric sans-serif typefaces, predating both Paul Renner's Futura and Rudolf Koch's Kabel by some five years. Starting in 1925, Ludwig & Mayer types were distributed in the United States by Continental Type Founders Association. When the foundry ceased operations in 1984, rights to the typefaces was transmitted to the Neufville Typefoundry.
D. Stempel AG was a German typographic foundry founded by David Stempel (1869–1927), in Frankfurt am Main, Germany. Many important font designers worked for the Stempel foundry, including Hans Bohn, Warren Chappell, F. H. Ehmcke, Friedrich Heinrichsen, Hanns Th. Hoyer, F. W. Kleukens, Erich Meyer, Hans Möhring, Hiero Rhode, Wilhelm Schwerdtner, Herbert Thannhaeuser, Martin Wilke, Rudolf Wolf, Victor Hammer, Hermann Zapf, and Gudrun Zapf von Hesse. With the introduction of Memphis in 1929, the foundry was the first to cast modern slab serif typefaces.
Joseph Warren Phinney was an American printer, type designer, and business executive. Phinney began his career at the Dickinson Type Foundry in Boston where he designed type and worked in management, eventually becoming owner. He was a key player in arranging the merger of twenty-six large foundries to form the American Type Founders Company in 1892, becoming both manager of the Boston branch and head of the design department, where he oversaw the consolidation of type faces following the merger. Though his own designs were largely derivative, Phinney took a great interest in type and its history and throughout his tenure at A.T.F. he sought to preserve and protect that company's legacy, as for instance, when he oversaw the re-introduction of Binny & Ronaldson's 1796 type design, Roman No. 1, as Oxford in 1892, or when he purchased Frederick W. Goudy's first type design, Camelot, in 1896. He stayed with A.T.F. for the rest of his career, passing the role of design head to Morris Fuller Benton and becoming senior vice-president. Phinney retired shortly before the company fell upon hard times during the Great Depression and died in 1934.
Koch-Antiqua is a serif typeface intended for decorative and display use, designed by Rudolf Koch and published by his employer the Klingspor Type Foundry from 1922 onwards. It is a delicate face with a low x-height, intended for decorative printing rather than for extended body text.
The Klingspor Type Foundry was a German hot metal type foundry established in 1892 when Carl Klingspor bought out the Rudhard’sche Foundry of Offenbach. His sons, Karl and younger brother Wilhelm, took on the business in 1904, renaming the foundry Gebrüder Klingspor in 1906, and turned it into a major concern. Famous type designers like Rudolf Koch, Walter Tiemann and Otto Eckmann worked for this foundry and created well known typefaces like Koch Antiqua, Wilhelm Klingspor, Tiemann Antiqua and Eckmann.
Kennerley Old Style is a serif typeface designed by Frederic Goudy. Kennerley is an "old-style" serif design, loosely influenced by Italian and Dutch printing traditions of the Renaissance and early modern period. It was named for New York publisher Mitchell Kennerley, who advanced Goudy money to complete the design. While Goudy had already designed 18 other typefaces, it was one of Goudy's most successful early designs in his own style. The regular or roman style was designed in 1911, the italic in 1918; bold styles followed in 1924.
The Inland Type Foundry was an American type foundry established in 1894 in Saint Louis, Missouri and later with branch offices in Chicago and New York City. Although it was founded to compete directly with the "type trust", and was consistently profitable, it was eventually sold to ATF.
Cochin is a serif typeface. It was originally produced in 1912 by Georges Peignot for the Paris foundry G. Peignot et Fils and was based on the copperplate engravings of 18th century French artist Charles-Nicolas Cochin, from which the typeface also takes its name. The font has a small x-height with long ascenders. Georges Peignot also created the design 'Nicolas-Cochin' as a looser variation in the same style.
References
- Specimen Book of Continental Types, Continental Type Founders Association, N.Y.C., 1929.
- MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4.
- ‘‘‘Heller, Steven, Philip B. Meggs, Texts on type: critical writings on typography, Allworth Press, N.Y.C., 2001.
- ↑ Specimen Book of Continental Types, Continental Type Founders Association, N.Y.C., 1929.