just a blurb on the site for FB Miller. and just a bit more on the page for FB Scotch.

I might search the APHA journal.

hhp

Linotype refers to Scotch Roman designs first cut by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow. A.D. Farmer is also credited by Linotype.

I’d say Georgia is a Scotch Roman.

A.

Many typefaces that Matthew Carter, the designer of Georgia, did in the last twenty years are, in fact, Scotch Romans: Miller, in its many versions and varieties, and also Vincent, and Big Figgins, and Elephant. And one, lesser known but exquisite, typeface he designed a couple of years ago for Princeton University Press, a new, digital, version of Linotype Monticello (né Binny & Ronaldson’s “Pica Roman No. 1”), which is yet another Scotch Roman.

Will, you’re right: Lawson’s coverage of Monotype Bell, ATF Ofxord, Linotype Monticello, and the whole [sub?]category of Scoth Romans (in his Anatomy of a Typeface) is probably the best there is...

Caledonia is great. Matthew Carter also did a Caledonia, three versions, for Time magazine. If my memory serves me, New Caledonia, the generally available digital version, suffers from the paleness of many early digital reproductions of metal typefaces.

> né Binny & Ronaldson’s “Pica Roman No. 1”

I’m pretty sure it was called “#2”, but I can double-check if anybody is interested. Anyway, it is indeed a great workhorse (Updike used it for his monumental “Printing Types”), and not without character. The “g” in particular is just what’s needed.

hhp

> if anybody is interested.

I am...

The specimen that Carter handed out when he presented Monticello at the Grolier Club calls it Binny & Ronaldson Pica Roman, No. 1 (Oxford).

I know. I have it too (I’ve been to Carter and Creesy’s lecture at Grolier). Also, what Wilson shows on p. 232 of his book is “PICA ROMAN, No. 1”, from B&R specimen of 1812.

Yes, besides the recent digital Monticello specimen (which I also have, thanks to Andy Crewdson - I hope he resurfaces one day...), Lawson* refers to the #1, and Updike has a passing reference too (look under “Oxford”). So I stand corrected - my bad. There was a “spike” in my memory about the numbering of the B&R stuff, and I think it was due to two things: the #1 was the second font they made (or at least finished); the #2 is listed first in the 1812, while the #1 is listed second. And I think I remember reading some author wondering about the preculiar numbering of the B&R #1... but at this point I think I’ll give my memory the short vacation it apparently needs.

* Maxim’s “Wilson” slip just now must be due to another Scotch designer, Alexander Wilson; and/or the really good Scotch design from The Foundry by that name.

> I know.

I knew you knew (once you replied).
Feel free to save me the digging next time! :-)

hhp

I have 200dpi scans of the ATF 1912 pages for 36-72pt Scotch Roman and 6-30pt Scotch Roman. Hope you guys find these useful.

BTW, something else I rediscovered while going through my PaGA stuff the other day is a pretty in-depth article on B&R #1 by P J Conkwright.

hhp

Will, IIRC you’re in Chicago. You should visit the Newberry. They have several specimen books you may be interested in looking at:

• 1812 Binny & Ronaldson Specimen
• 1819 Alex. Wilson & Sons Specimen
• 1828 Alex. Wilson & Sons Specimen
• Several Miller & Richards specimens from 1863 through 1906

If you have trouble finding them, let me know. I have the call numbers for them filed somewhere.

matteson, exactly. my next thing in the city to check out is the newberry for sure. i keep hearing about these amazing works they have that i had no idea about. i will let you know if i have trouble

btw, really enjoyed a few of your photographs

w|m