ITC New Winchester™ Schriftfamilie

ITC New Winchester™ Book (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Book SC (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Book OsF (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Book Italic (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Book Italic SC (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Book Italic OsF (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Bold (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Bold SC (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Bold OsF (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Bold Italic (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Bold Italic SC (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Bold Italic OsF (ITC Collection) Details ... In den Warenkorb legen Preis ab: 26,00 US$

ITC New Winchester™ Value Pack (ITC Collection) Details ... In den Warenkorb legen Preis ab: 78,00 US$

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In Layout in Advertising, published in October 1928, W. A. Dwiggins pointedly left sans serifs out of his survey of advertising typefaces. Gothic the newspaper standby in its various manifestations has little to commend it, he wrote, except simplicity; it is not overly legible, it has no grace. Gothic capitals are indispensable, but there are no good Gothic capitals. The typefounders will do a service to advertising if they will [...]

Mergenthaler was so confident in Dwiggins’ potential as a type designer that in May 1929 they signed him to an exclusive contract (at $ 2500 per year) months before his sans serif was completed. The company wanted to snatch him away from potential rivals such as American Type Founders, Barnhart Brothers & Spindler and Continental Typefounders, all of whom had expressed an interest in commissioning type from him. The National Display Alphabet Co., makers of Innes Alphabets – alphabets [...]

Dwiggins’ decision to get out of advertising had been building for six or seven years. In March 1922 he found himself unable to complete a job for his friend Carl Purington Rollins, printer to Yale University. “I am really puzzled to know what has bitten me, some kind of stage-fright, or else I am nicked for the time being in my inventive faculties. Other work has gone sour in the same manner.” The problem was not stage-fright but adult-onset diabetes, the same disease that [...]

ITC New Winchester is a revival of a typeface that never really had a first release. The original Winchester was an experimental design created by the American type designer W.A. Dwiggins in 1944. Dwiggins was interested in improving the legibility of the English language by reducing the number of ascenders and descenders; to do this, he gave Winchester very short descenders and created uncial forms for a number of letters. The result was a distinctive text typeface that was occasionally used by Dwiggins and Dorothy Abbe in handset form. Fifty years later, Indiana type designer Jim Spiece has turned Dwiggins's experiment into a new family of digital text types. Spiece gave New Winchester a bold weight, as well as small caps (both roman and italic) and old style figures; he also created two forms of the lowercase f, one with and one without an overhang (in metal type, a kern), and a full set of f-ligatures.