Your·Favourite·Oldstyle·Typaces?

Fournier's picture

¶ What are your favourite oldstyle typefaces from the Renaissance or inspired by the Renaissance?

¶ Find a list as an example to guide you into the oldstyle realm. But feel free to add yours.

❧ Bembo (Francesco Griffo/Stanley Morison)

❧ Poliphilus (Francesco Griffo/Stanley Morison)

❧ Garamond (Claude Garamont/Egenolff-Berner/Günter Gerhard Lange/Robert Slimbach)

❧ Plantin (Frank Pierpont/Robin Nicholas)

❧ Goudy Old Style (Frederic W. Goudy)

❧ Granjon (George W. Jones)

❧ Golden Cockerel (Eric Gill)

❧ Palatino (Hermann Zapf)

❧ Aldus (Hermann Zapf)

❧ Albertina (Chris Brand)

❧ Lectura (Dick Dooijes)

❧ Sabon (Jan Tschichold/Jean-François Porchez)

❧ Galliard (Matthew Carter)

❧ Augereau (George Abrams)

❧ Minion Pro (Robert Slimbach)

❧ Arno Pro (Robert Slimbach)

❧ Francesco (Franck Jalleau)

rayzb92's picture

1. Golden Cockerel
2. Palatino

bojev's picture

Centaur

quadibloc's picture

Bembo, Poliphilus, Garamond (the "fake" Jannon ones), Plantin, Aldus, Goudy Old Style, Palatino... from the list.

In addition, Jenson Oldstyle, Cloister Lightface, Imprint, Adobe Caslon, and Alexander Phemister's Old Style for Miller and Richards.

Fournier's picture





¶ In that order of preference:

Garamond (Robert Slimbach)
Goudy Old Style (Frederic W. Goudy)
Minion Pro (Robert Slimbach)

Fournier's picture





¶ Look at the glyphs of LTC Goudy Oldstyle Pro Italic:
http://www.myfonts.com/fonts/lanston/ltc-goudy-oldstyle/pro-italic/glyph...

¶ Goudy was influenced by Robert Granjon's swash italics.

Gerry K's picture

Albertina made a very favorable impression on me in the recent Cambridge Edition of the Works of Ben Jonson.

Thylacine's picture

As a graphic designer, I have, maybe, five or six go-to typefaces whose personalities I've become very familiar with over the years and that seem to meet my 90 percent of my needs. In addition to those favorites, I use others based on their appropriateness for the task at hand.

When it comes right down to it, I don't have any typefaces that I like simply because I like them. Instead, I have several faces that I use more often than others because they contribute to what I'm trying to achieve with whatever it is that I'm designing.

GrubStreet's picture

For antique print text: Stempel Garamond, and its inspirations (like Kai Bernau's Lyon)
For modern print text: original Sabon
Pairing with modern sans-serif: Minion

Fournier's picture

Bembo, Poliphilus, Garamond (the "fake" Jannon ones), Plantin, Aldus, Goudy Old Style, Palatino... from the list.

In addition, Jenson Oldstyle, Cloister Lightface, Imprint, Adobe Caslon, and Alexander Phemister's Old Style for Miller and Richards.

¶ Your selection is a mixed bag of many eras: Italian and French Renaissance, English designers of the XVIII th and XIX th century. In my introduction message and through my examples, I implied the category known as "garaldes" (Garamont+Alde Manuce). Basically, the XVI th century even though Manuce belonged to the late XV th century. Garamont studied his craft through the books published by Manuce but changed and polished the general design of the letters: see, as one example, the horizontal cross bar of the lowercase "e" with no beak. As Jean Jannon and Christoffel Van Dijck, Caslon followed the template of Claude Garamont's roman.

¶ Your selection is narrowed down to:
Bembo
Poliphilus
Garamond (Jean Jannon)
Plantin
Aldus
Goudy Old Style
Palatino
Imprint (neo-Caslon)
Adobe Caslon

¶ I have some doubts about this typeface:
Antique Old Style (re-named Bookman Oldstyle)
Garalde or Transitional? I can't say.

quadibloc's picture

I have seen one page - Martin Silvertant's - which classifies Caslon as a Garalde. That surprised me; I would have thought that it, like the Dutch old styles such as Plantin are instead on the border of being Transitional like Baskerville, and so they're old style but not belonging to the specific category of typefaces like the Garamonds.

Fournier's picture

¶ Caslon is the last of the Garaldes in an era of transitional typefaces. Caslon was influenced by the design of Christoffel Van Dijck.

¶ Most of the Garaldes I quoted as examples are post-Garaldes.

quadibloc's picture

Caslon is the last of the Garaldes in an era of transitional typefaces.

There were transitional typefaces before Baskerville, in the era of Caslon? (But of course that depends on what one classifies as a transitional typeface.)

Fournier's picture

¶ The first transitional is the Romain du Roi (1702) by Philippe Grandjean.
Then you have Fleischmann, Luce and Fournier. And Baskerville.

¶ Caslon is an odd case because it can be classified in both garaldes and transitional category.

Frode Bo Helland's picture

Hey, Fournier dude! ¶ How come you’re asking a lot of stupid questions and seem to have all the answers?

quadibloc's picture

Oh, dear, yes, I should have remembered that the Romain du Roi should be accounted as a transitional, given that it was very much a direct ancestor - even more so than Baskerville, on which Updike heaped blame - of Bodoni.

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