#plantin

[starsandstims]

The Typographic Legacy of Microsoft

[unitt3]

Food at Carnival-

[happywebdesign]

moxiegrouppr.com

[morganphotographies]

[uwmspeccoll]

Typography Tuesday

TIMES NEW ROMAN

This week we present the iconic typeface Times New Roman, commissioned by the British newspaper The Times in 1931 and designed by the British type designer, type historian, and major typographic consultant for the Monotype Corporation, Stanley Morison, in collaboration with The Times's lettering artist Victor Lardent. The images here are taken from British type historian and Rampant Lions Press proprietor Sebastian Carter’s 1987 book, Twentieth century type designers, published in New York by Taplinger Publishing Company.

Morison began his crusade to reform The Times's typeface in 1929 by “pointing out how badly the paper’s design and printing compared with current standards of book production, and he impressed the management with a legibility study” conducted with Monotype Platin, Baskerville, and Perpetua. In considering a new type design, these three typefaces were considered as basic models. Morison wrote that a new typeface for The Times:

would be selected not with a view to their being of striking, but rather subtle allure, The face would be chosen for its effectiveness as much as for its “beauty”; the criteria of the effectiveness being a maximum of legibility to the reader who neither knows nor cares, one way or the other, for the mysteries of typographical minutiae.

After some review, Baskerville and Perpetua dropped out as models for not being condensed enough, and Plantin became the preferred choice to model a new font. The new typeface, Times New Roman, was designed and cut in 1931 and finally released to the public in the October 3, 1932 issue of The Times. The rest, as they say, is history. Sebastian Carter writes, 

Times is the most successful type of this century, and outsold its nearest rival in the Monotype list by very nearly two to one. . . . the type exemplifies the way the best modern faces, though based on historical models, can leave their origins behind them and look completely of their age.

The images above show the full font set, a comparison of Plantin (above) and Times capitals, and a portrait of Stanley Morison (1889-1967) from a drawing by William Rothenstein as reproduced in the 1924 issue of The Fleuron, the influential British journal of typography and book arts co-founded by Morrison in 1922. Our copy of Sebastian Carter’s Twentieth century type designers is another donation from our friend Jerry Buff.

View our other Typography Tuesday posts. 

[rotipizza]

🔥Plantain Brownies🔥 I’m ending my weekend on a good note. Thank you @nicole_margarita for the recipe! Check her page for the recipe as well ✨ . . . #recipe #baking #eating #foodie #weekend #plantain #plantin #trini #rotipizza #trinbago #usa #uk #link #eater #treatyoself (at Baltimore, Maryland) https://www.instagram.com/p/CD-PYU0FqL4/?igshid=z7b3vfnfnfp2

[hdslibrary]

Cool Clasps 18: Judgment Day

Most of the clasps on the eight volumes of our copy of the famous 16th century Antwerp polyglot are still intact. Even though they may show signs of wear, they’re doing great for their age!

Biblia Sacra Hebraice, Chaldaice, Graece & Latine : Philippi II. Reg. Cathol. pietate, et studio ad Sacrosanctae Ecclesiae usum. Excud. Antuerpiae: Christoph. Plantinus, 1569-1572.

[francepittoresque]

1er juillet 1589 : mort de l'imprimeur-éditeur Christophe Plantin, un des premiers imprimeurs de la Bible ► http://j.mp/2WDwxCo Né en Touraine et venu fort jeune à Paris où il apprend d’abord l’état de relieur, il visite ensuite les principaux ateliers d’imprimerie de France puis passe aux Pays-Bas et s’établit à Anvers, où il fonde la plus importante imprimerie du monde et porte l’art typographique à un haut degré de perfection