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 provide a Gothic of good design. In February 1929, Harry Gage,
[...]William A. Dwiggins – born 19. 6. 1880 in Martinsville, USA, died 25. 12. 1956 in Hingham, Massachusetts, USA – type designer, printer, typographer, graphic designer – studied at the Frank Holme School of Illustration in Chicago under Frederic W. Goudy.
1903–04: runs his own printing workshop in Cambridge, Ohio. 1905–16: commercial artist in Hingham, Massachusetts. 1917–18: director of Harvard University Press. 1919: founds the Society of Calligraphers in Boston and is their president and
[...]Jim Spiece was born in Wabash, Indiana in 1946. He spent his college years at Indiana University in Bloomington. After working at an advertising agency in New York, he founded his own studio, Spiece Graphics, in Fort Wayne, Indiana.
Dessinateur : Jim Spiece, 1999
ITC New Winchester™ est la reprise d’une police de caractères qui n’est jamais vraiment sortie. La première Winchester était une ébauche que W. A. Dwiggins, le typographe américain, avait créée en 1944. Dwiggins avait voulu améliorer la lisibilité de la langue anglaise en réduisant le nombre de jambages supérieurs et inférieurs. Il avait donc doté Winchester de jambages inférieurs très courts et créé des formes onciales pour certaines lettres.
[...]
La ITC New Winchester™ famille de polices appartient à la bibliothèque
ITC Collection.
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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.
