In many of the histories of printing and typography written by western authors during the nineteenth and early twentieth centuries, it was common to include a chapter about prior inventions and concepts that bore similarities to printing as we know it (three such examples that come to mind are Hansard’s Typographia, De Vinne’s Invention of Printing, and Reed’s A History of the Old English Letter Foundries). These chapters usually discussed the printing of seals into clay in Ancient Egypt and Mesopotamia, but also mentioned a letter of Cicero’s, in which his ruminations came very close to describing the system of type-making and printing ascribed to Gutenberg, which of course were only realized a millennium and a half later. Quintilian is also cited, etc.
These authors’ point, I think, was that the idea of printing with moveable metal type was not inherently novel in-and-of-itself, but that Gutenberg (presumably) was the person in the west to successfully put the theory into practice.
Thank you for all of the research you have compiled on your website. I learned about your site a few years ago, from Stephen Coles.
There are a few German-language articles published in late-nineteenth and early-twentieth century printing-trade periodicals that are not listed on http://circuitousroot.com/artifice/letters/press/typemaking/literature/punchcutting/index.html. While these articles do not have as much detail as I would like, I find that they have almost as much information as the articles by Rudolf Koch and Paul Koch. At least for my purposes; I am looking for statements about how letters are etched onto the face of the punch before cutting, and/or about transferring an image onto the face of a punch before cutting. I have not compiled a complete list of these articles yet myself; I’m still working on this, and will probably only really be complete in about 10 more months (I’m compiling more than just information on this topic …). Three articles that stand out for me are:
[Franz Max?] Schnögula and Albert Hoffmann: »Die Herstellung der Schrift von der Zeichnung bis zur Ablieferung an die Druckerei. Vortrag, gehalten von den Herrn Stempelschneider Schnögula vor der Berliner Typogr. Gesellschaft. Für das Journal bearbeitet von Albert Hoffmann.« In: Schlotke, Ferdinand (ed.): Journal für Buchdruckerkunst, Schriftgießerei und die verwandten Fächer. Vol. 50, no. 23, columns 491–495. Continued in vol. 50, no. 24, columns 509–512. Hamburg: Ferdinand Schlotke, Hamburg (1883). [Schnögula was a punchcutter and engraver in Berlin, but my information on him is almost non-existant; he died c. 1893, I believe.]
H. Röder: »Die Herstellung von Stempeln für Buchdrucktypen.« In: Archiv für Buchgewerbe. Vol. 38, p. 300–302. Leipzig: Verlag des Deutschen Buchgewerbevereins (1901). [As is the case with Herr Schnögula above, I do not yet have any biographic details for H. Röter.]
Heinrich Weber: »Wie entstehen unsere Lettern?« In: Klimsch’s Jahrbuch – Eine Übersicht über die Fortschritte auf graphischem Gebiete. Vol. 2, p. 37–46. Frankfurt am Main: Verlag von Klimsch & Co. (1901).
+1 for Nameoffont_Nameofclient (with a space or underscore, etc.).
I’ve been told by a lawyer for a company I used to work woth that, if Nameoffont is a registered trademark, then putting anything new before Nameoffont weakens the trademark holder’s claim to that trademark, however slightly. So, a client might want Nameofclient_Nameoffont, but that was not something this lawyer could sign off on.
(Of course, I should add here that I am not a lawyer, and this post should not be misconstrued as actual advice, since I do not have an understanding of how laws surrounding trademarks in any jurisdiction are specifically applied.)
Picking up an idea of Nixon’s, whenever I see someone state that “X is the new Y,” I place all of my bets on Y.
In 20 years – and in 100 years, too – I think it is a pretty safe bet to say that Bold and Italic letters will still be used in many of the same ways, and for many of the same purposes, that they are used for today.
This does not mean that I think “color fonts” won’t have a future. It is just that I think that it is most likely that a new area of use will be found for them, which we have not envisioned yet, rather than they replace some pre-existing element in the typographic repertoire.