Nice catch, Jables. Dover's a good bet on all
except the dotted one. I'll look around.

I remember what Kent's remembering at Scanjam.
Mail sent to Joshua to give us the skinny (fat).

Stephen

Joshua -- These are amazing. Are they on the market? Especially the sans, and in more weights??

Some names:

"Italienne (French Antiques)" called Barnum by ATF.
Then there's Imre Reiner's "Figaro" released by Mnotype 1945.
I'm sure I've seen at least Figaro or something very similar digitalized.
/peter

Nice Peter. Here's MT Figaro. Here's PT Barnum.

It seems like there's a whole off-spring style from Egyptiennes (slab serifs) called Italienne or French Antiques. There's a wide range of variation though & sometimes they are called something eklse.

There's one Italienne made by W. Caslon IV in 1821 which looks really weird. Deberney & Peignot made one in 1820.

I also forgot to mention Playbill (Stephenson Blake, 1938) which also is an Italienne.
Other Italiennes

The "Italian" style is characterized by reversed stroke stress, right? Which makes me wonder, if somebody were to make a relatively docile "text" font in that style, wouldn't it serve nicely to set some "subordinate" text to Arabic, Hebrew, or other scripts that have horizontal stress? Excoffon made Olive and Bloemsma has Balance, but those are still too mainstream to work the way I'm picturing.

hhp

I had to make a scan since I really like the wierd one from Calson.
/peter

Dig that cowlick circumflex in tempête.

Dig that sentence that Lew just spun.

the dot matrix face of the cornershop
logo is by julian morey of club 21.
its called cashier, and is available
from fontworks (www.type.co.uk)

I did a face based on these sorts of weight relationships, called Cassandra.

http://www.scanjam.com/archive/catalog/images/cassandra.gif

I took more than a few liberties with this face, but line four of this GIF is more or less a faithful reproduction of a 19th century face whose name and provenance escape me.

I think it's safe to call the Cornershop type more 'Italian' than 'French Clarendon,' due to the lack of bracketing and the turned-in serifs of the S.

j.

Thank you kindly.

These aren't available for retail sale yet, although I certainly look forward to unleashing them. There may be more in the way of weights, at either end of the gamut.

j.

Rock on, Peter.

The upper line of that scan is a true-blue early Italian, a Fat Face that's been algorithmically turned inside-out. The second line is more rationalized, with the weight distributed to the periphery and with substantial bracketing.

Peter Bain's also done some work in this idiom. http://www.incipit.com/

j.

Nice Peter.

This thread get's the award for most eclectic samples.

Thanks for all the help guys! Still cant find the perfect match... Checked out the dover pubs as well, but no no avail. Any more leads?

Regarding Peter Bain, I have worked with him before, and his work and craftsmanship are just astounding.

The slab serif is something I've seen digitized before, but I can't recall exactly where. I'm thinking that ScanJam has done this (the original design is late 1800s Victorian, I'm pretty sure), but since their site is down now, I can't confirm.

If Joshua Darden is monitoring this board, he'll be able to tell you.

The other possibility is that these were all just scanned out of the Dover type series.

-- K.