Last edited by Mugar
Wednesday, July 29, 2020 | History

2 edition of Vincent Figgins found in the catalog.

Vincent Figgins

Vincent Figgins

Vincent Figgins

type specimens, 1801 and 1815, reproduced in facsimile; edited with an introduction and notes by Berthold Wolpe.

by Vincent Figgins

  • 225 Want to read
  • 25 Currently reading

Published by Printing Historical Society in London .
Written in English

    Subjects:
  • Printing -- Specimens.,
  • Type and type-founding -- Great Britain

  • Edition Notes

    Other titlesType specimens, 1801 and 1815.
    GenreSpecimens.
    SeriesPublication (Printing Historical Society) -- no. 4
    ContributionsWolpe, Berthold., Figgins, Vincent, d. 1860 or 61., Figgins, Vincent, d. 1860 or 61.
    Classifications
    LC ClassificationsZ250 F475 1801A
    The Physical Object
    Pagination44 p., [83] leaves (1 fold.) :
    Number of Pages83
    ID Numbers
    Open LibraryOL17517420M

    In , Wolpe prepared revived editions of the early nineteenth century specimen books of London typefounder Vincent Figgins. In , Wolpe published a monograph on the Elizabethan writing-master John de Beauchesne. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of , under the name Antique.” Of course, dating the design is not quite as simple as : $

    Vincent Figgins (), of Peckham, England, was a British type-founder. After an apprenticeship with Joseph Jackson, he established his own type foundry in His company was extremely successful and, with its range of modern serif faces and display typefaces, helped to define the styles of British printing in the nineteenth century. He introduced Moorish ornament to Western design in his book Plans, Elevations, Sections, and Details of the Alhambra, but his main influence was through his widely studied book of large color plates, The Grammar of Ornament.

      A sans from an early Vincent Figgins type specimen. Larger view. (Image source: Typefoundry) Eventually Vincent Figgins (whom you may remember as being credited with the first slab-serif type) called the new style “sans serif,” which became the widely accepted term, although you’ll see many of the old terms in use on some typefaces. Vincent Figgins. British punch-cutter and Master type founder-Apprentice to Joseph Jackson-Created his own foundry - Published several books of type specimens-Designer of the first slab-serif or Egyptian typeface, called Antique in type design and mathematical, astronomical, and other symbolic material.


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Vincent Figgins by Vincent Figgins Download PDF EPUB FB2

Vincent figgins type specimens and - reproduced in facsimile [berthold (editor) wolpe] on *FREE* shipping on qualifying offers. 44p plus approx p in facsimile, some folding, publisher's green cloth very fresh, gilt lettering to spine.

Specimen of printing types [Vincent Figgins] on *FREE* shipping on qualifying offers. Vincent Figgins would run his foundry until when he retired. They published their first specimen book in In he was elected to Parliament, he retired from the business.

The foundry then moved to Ray Street, Clerkenwell in Vincent Figgins: type specimens, andreproduced in facsimile by Vincent Figgins,Printing Historical Society edition, in English. Genre/Form: Specimens: Additional Physical Format: Online version: Figgins, Vincent, or Vincent Figgins: type specimens, andreproduced in Vincent Figgins book.

Vincent Figgins: Type Specimens, andReproduced in Facsimile. edited with an introduction and notes by Berthold Wolpe.

Format Book Published London, Printing Historical Society, [] Language English Related Title Type specimens, and Series Publication /.

The book lavishly presents the winning entries, along with information about each typeface, its language, and its designer. British and French printers, engravers, etc., such as: Thomas Bensley, Robert Bowyer, Vincent Figgins, Thomas Palser, Bryan Troughton, and Gaetano Testolini.

Most of the letters are about the production of books, costs. Figgins is also believed to Vincent Figgins book introduced the term ‘sans-serif’, with the introduction of a typeface of that name in the s – possibly All images shown below have been extracted from the book ‘Vincent Figgins Type Specimens – and Vincent Figgins Trend-setting British punchcutter and typefounder, known for his craftsmanship.

He was apprentice to Joseph Jackson frombut was apparently not prepared to work under William Caslon III, who bought the foundry when Jackson died in ; he opened his own foundry the same year. The first recorded slab serif type appears in. Vincent Figgins (borndied 2.

in Peckham) created the fonts Egiziano and Monotype Ionic® (). The original design of Egiziano Black is attributed to Vincent Figgins in As its name suggests, Egiziano Black is a typical example of an Egyptian, or slab serif typeface. Use the Egiziano Black font for posters and titling. Specimen of printing types, [Vincent Figgins] on *FREE* shipping on qualifying : Vincent Figgins.

The Visual History of Type is a definitive survey of the major typefaces produced since the advent of printing with movable type in the midth century to the present ed chronologically. Figgins (). It first appeared in with the publication of: Specimen of Printing Types, by Vincent Figgins, Letter Founder, West Smithfield, London.

The typeface was originally called. Specimen of the Elzevir series of new founts, from the foundry of Vincent and James Figgins, London [Figgins, Vincent] on *FREE* shipping on qualifying offers. Specimen of the Elzevir series of new founts, from the foundry of Vincent and James Figgins, LondonAuthor: Vincent Figgins.

- Vincent Figgins printed a specimen book showing ranges of modern style type in response to society's type design taste favoring modern style romans and new jobbing styles. This specimen book contained antiques, numerous jobbing styles, three dimensional type, Egyptian and Tuscan style typefaces.

Page - The Game of the Chesse," the First Book printed in England by WILLIAM CAXTON, reproduced in facsimile from a copy in the British Museum ; with a.

Elephant is a digital fat face typeface by Matthew Carter based on the typefaces of Vincent Figgins. [1] In typography, a fat face letterform is a serif display typeface or piece of lettering in the Didone or modern style with an extremely bold design.

[2]. One of the most influential typographers of the 19th century, Vincent Figgins, has inspired a new typeface by Monotype, launched today. Called Macklin, the superfamily is based on Figgins' entire body of work, transformed into a single, comprehensive type has been designed by Monotype's Malou Verlomme to help brands "appeal more emotionally to modern consumers", as the foundry puts it.

George Bruce & Co. of New York, (& other) specimen books. Many examples of early slab serif type alongside other period display types. From the company of Vincent Figgins: Specimen book, Many notable ornamented designs. Earlier books from the early s survive and have been reprinted. ascenders and descenders.

Vincent Figgins displayed a full range of antiques in his printing specimens. sans-serif faces B. Tuscan-style faces C. Egyptian faces D. fat faces 4. A third major innovation of nineteenth-century type design were the _____ faces, which were introduced in an specimen book issued by William Caslon IV.

Appears in 19 books from Page - THE GAME OF THE CHESSE," the First Book printed in England by WILLIAM CAXTON, reproduced in facsimile from a copy in the British Museum, with a few Remarks on Caxton's Typographical Productions, by VINCENT FIGGINS.New type (cut by Joseph Jackson and Vincent Figgins) and new paper were created for the venture, and the historic paintings were to be 'finished in a style of elegance (and magnificence in Paper, Printing, and engraving) of which there is not in Europe or the world .London: Vincent & James Figgins, Typefounders, An elaborate facsimile of the second edition of Caxton's The Game of The Chesse, printed in Westminster inthis edition printed from type cut expressly for this work at the foundry of V.

& J. Figgins. The book was printed and sold to raise funds for the Printers' Alms-Houses at Tottenham; rear matter includes the fundraising prospectus.