Please give it a try... I can�t deny I probably missed something
after scanning though hundreds of samples...

;-)

Btw, my first thought was it could be made by Sumner Stone...

Nicolai, go to Mike Y's site

http://bowfinprintworks.com/index.html

he has an extensive search section.

I'm almost sorry you picked my site to help with that, because I have very little ID material on serif fonts (yet). I looked through "Modern Encyclopedia of Typefaces" (Wallis) looking for slab or near slab faces with an E with almost equal arms. I spent some time looking at Demos, Swift and ITC Weidemann. I can see real mismatches with the last two now, but Demos is possibly a fair substitute.

You didn't say what the age or source of the sample was, and if it's from an old piece of printed media, that would possibly rule out many fonts we would look at. It could even be a typeface that hasn't been digitized. If it is a font, there is always the potential for Tiffany's 'squooshing' to have been used.

General plea for ID requesters: Please tell us something about the source of the sample, so we can have as much helpful information as possible.

what does slab mean ?

Heavy, square serifs, with no width variation (as opposed to, say, wedge serifs).

If Yves is right about the outline, the weight must be
either light or some sort of display version, right?

What if the text was scaled, say 110%, vertically?

That's why I was talking about the type possibly being 'squooshed'. But Yves, if it was stroked that wouldn't make the serif shape change would it? I would have thought the stroke only would make the type look bolder. (That's what I sometimes use the stroke for -- when there is no bolder weight.)

This is how it would look like when scaled vertically



Maybe I redused it too much, but it gives a hint anyway

You are going to laugh: It's New York.



This was set in Illustrator at 60pt with a 2.8pt stroke, condensed 90% with 140 units of letterspacing. New York. Who'd have thought it.

I�m impressed!!!

Being on a PC, I had to hunt up New York.
Incredible eye Mark!

Good work Mark. I'm sitting here on my Mac, and that's probably the last thing I would have ever looked at! Grrr! I hate when they do that. Usually they use standard MS fonts, and I've learned to spot those, but the ancient Mac fonts are almost never used. Is somebody going to send us a sample of Geneva next? I'll be ready for 'em.

P.S. Can anyone tell me why my lines take for ever to wrap? Is it a browser setting, or some preference in my profile here?

It was a tough one. I looked at it several times over the last
couple of days and there was something naggingly familiar
about it. The slightly lop-sided S was the biggest clue.

What's interesting is that Nicolai offered Lucida Bright as a
possibility right away. That was very perceptive. Kris
Holmes was a designer on both New York (the TT
version) and Lucida. You can see her hand in both.

They will run as wide as the widest image above
your post, unless you wrap them manually (a pain).

Mike, the only way I know of to get the lines to wrap is to
enter hard returns in the Post text field. There is no auto-
wrap and the lines will stretch out to the full width of the
page. I don't usually bother except when an image forces
the page to be very wide.

Thanks Mike & Mark. I won't obsess about it any more.