Azurine is a digital revival of a typeface known as Aztec, drawn by an unknown designer for the Union Type Foundry before 1889.
Their individual histories will follow at another time, but note that several here are useful derivatives that add to the variety of this letterform's impact. This collection of typefaces represents a revival of several bold slab-serif wood types with the name Antique that are related. Interesting to see what others have done with the exact same typeface and scan and some research for tantalizing missing glyphs.kudos. It was designed by Herman Ihlenburg in 1884 for MacKellar, Smiths & Jordan, which information I found in a link from Tom Cruz for a fellow named Toto who revived the font as well he has several glyphs I do not have and I like his showing better. I found Angular Text in a Solo catalog and revived it as a digital font with diacritics and other characters for expanded typesetting possibilities. It is one of those projects I would recommend to a beginning revivalist who wanted to cut his or her teeth on a moderate challenge after mastering some basic tools in font development software. Solo catalog, but it is another oddball that is attractive and very simple to revive in digital format. I know next to nothing about this ultra-geometric blackletter called Anderson that I found displayed in a Dan X. Buried in the "gingerbread" of this weird face is technically a Latin serif, but otherwise it is an entirely unique letterform for which I had a heart soft enough to revive here in digital form. Another oddball typeface is revived here, renamed from the design called Alpine by Henry Schuenemann for the Cleveland Type Foundry in the 1880s. While this was not my most challenging project, it was a doozy. Cumming in the late 1880s for the Dickinson Type Foundry in Boston. This is a digital revival of the original Algonquin, cut by J.F.
Aloysius and Aloysius Ornamented (2017).Solo, Algol is a vastly expanded character set for Algernon, a typeface that clearly presages Machine and other "octics." I don't have any source material for the original design, but it may have been a Dan Solo original. It is definitely an oddball and may never see use. I would classify it is as neo-Victorian medium-contrast decorative italic. I have recently worked on it extensively to make it usable as a multilingual slightly redesigned font in OTF format. Most of those 2,000 scans were lost when I changed computers a long time ago, but Abel Cursive survived and I made a down-and-dirty mow-and-blow font back then. Before I sold my equipment and closed my business for good, I made a scan of every typeface at 72-point size that I owned for future development, if there ever came a time to work on something crazy like that. Apparently it was designed by Bernie Abel (perhaps one of CompuGraphic's employees) and I'm not sure it got much use, since I don't recall seeing it anywhere except my type catalog. One of the faces I never used in two decades of work was a rather ungainly decorative font called Abel Cursive. When I was a typesetter in New York City, I had one of the largest collections of typefaces from CompuGraphic's library available for setting. The annotations in the list below are quoted from Prescott's pages. In these three years, he showcased his work on Facebook, and was mainly involved in reving 19th century typefaces, about half of which were from the Victorian era. For this reason, Prescott's oeuvre is split over several pages: His work can be partitioned into time periods. In 2019, he announced that he would stop making typefaces altogether. He operates as APT and more recently as AJPT.
He advertizes himself as a leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials.
Originally from Greenfield, MA, he graduated from Saddleback College, and worked for some time as a typesetter in New York. Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. There are two type families, Augereau (a garalde in 13 styles) and Abrams Venetian (a Venetian in 6 styles).Ībrams Venetian was designed in 1989 based on Nicolas Jenson's renaissance letterforms, but was not available until ten years later.Īugereau was designed and released by George Abrams in 1997. The digital typefaces are managed and executed by Charles Nix. The Abrams Legacy Collection was established to preserve and promote the legacy of renowned type designer and lettering artist, George Abrams (d. TYPE DESIGN INFORMATION PAGE last updated on