Many years ago, we bought a bunch of proofs that had apparently come from the defunct Van Loey-Nouri foundry in Belgium. Cognac was an incomplete alphabet among them, which we completed.
Just a guess, but 1910 seems like a probable date for this art nouveau design.
A handsome German art deco design that fits in well with other types of the 1920s and 1930s. Originally without a lowercase, so we drew one for it, extending its usefulness.
Charles Beeler Jr. designed this in 1895 for Mackellar, Smiths and Jordan, which was part of the American Type Founders combine.
The font had a short life because five years later ATF began an “off with the old, on with the new” program, and this font was an early victim.
When you use this font, be sure to look for the two different sets of end and spacing pieces, one with stars, one without. The ends are on the Bracket and Brace keys, and the spaces are on the Vertical Bar and Backslash Key.
There are also a couple of “torn” end pieces on the Plus and Equals key.
This bold blackletter is rather wide, which enhances its readability. In Victorian job printing it was not unusual to find one line of blackletter in a card or handbill, just for contrast.
This one came on the scene sometime in the 1880s.
The Stephenson Blake foundry in England, made two fonts, Flemish Expanded and Flemish Condensed. In our view, one was too wide, the other too narrow; so we redrew it and renamed it Brussels. Why not? Belgium is one of the few places where you may still hear Flemish spoken.
Our font of the original was only ten point, so we had to use our imagination to a great extent.
As specialists in Victorian typography, we have found that many people do not like the “center alignment” idea, used on several old time faces, but we have been faithful to the original.
Another caps-only font for which we have designed a lowercase. It was originally brought out in smaller sizes for card work, but proved to be so popular that sizes up to 48 point were soon added.
A special effect type from the French foundry of Beaudoire & Cie.
We changed a couple of characters to improve the overall harmony of the alphabet.
An ideal face for blocks of copy when you want them to look old. Very readable.
Another faithful rendition of the original from the Keystone foundry. Actually several foundries worldwide offered this font.
We began with the Victorian font Dotted, so-called because the counters of many of the letters contained a dot.
We knocked out the dots, added a lowercase, and voila! a more useful type than the original without losing its charm.
This font was inspired by the embossed lettering on cigar boxes. The letters, or entire words, are often surrounded by raised dots, and that was our idea here. We drew this about 1997, and have been refining it ever since.
All letters are on the lowercase keyboard; the end pieces and spaces are on the caps.
One of the many Solotype experiments in developing fonts with an ethnic flavor, this one is a bit less obvious than most. The lowercase seems to work well.