I have a question without an answer. Why are there so few revivals of some of the classics of French type from the Belle Epoque? In particular, I have in mind timeless beauties like Elzevir no. 3, and Peignot's Serie 16eme.
Before you rush to correct me: yes, I know that Mario Feliciano is preparing Parnaso Text, his take on the no. 3 above; and I know that Coen Hofmann and Charles Mazé took on 16eme. But, their revivals are really display faces; they don't work for long text at all. Way too high-contrast. And, while I expect Parnaso T will be outstanding, that's just one revival. Shouldn't there be a lot more of them? It's an outstanding face by any measure; as is Peignot's S16; as it Perrin's Augustaux. For comparison, just recently we had two or three revivals of that compellingly awful Scotch by Phemister; I'm talking about Lineto's Catalogue and Pyte's Triptych. If that dreadful thing was worth reviving, so is the zenith of late-classical French type.
So, what's going on? Is it the economics of type making in late capitalism that discourages these projects? They don't make enough money to justify the effort? What gives? Inquiring minds wish to know.