I know what you are saying about the Raisonée part and the fractions.

Honestly I’m not getting the Jenson in this context. I’d be very tempted to try and make the whole project work with Whitman.

Let’s see what others say.

Whitman: Oooh, nice suggestion. Durable stroke modulation, yet graceful forms.

What about a sans serif family?

I’d look at the whole thing in Whitman, but I think you could come in for the small type with Gill Sans and wouldn’t come off too bad.

Here’s Whitman with DynaGrot… FF Legato might play nice.

“Modern American Painting” by Peyton Boswell Jr., Dodd, Mead & Co. New York, 1940, is a big upscale art book—all figurative stuff, of course, pre-Pollock.

The title is set in Weiss Initials, and the text in 14 pt Centaur. Weiss Italic is used for captions, and Weiss Roman for the catalog.

As the Centaur is letterpress, with a lot of gain, it’s quite like Adobe Jenson.

They avoided anything with commercial or European Modernist associations, which narrowed the field considerably!

Thanks for the suggestions.

As I continue my inquiry, it’s clear that I need to use an Open Type font with a fairly large family. I’m loving the look of Whitman with DynaGrot, but Font Bureau tells me that the only fractions they have are for Whitman Display Condensed Bold, which is not useful for the extensive text I need it for.

Centaur is a beauty but again, the whole Open Type requirement...

Hmmm...it’s not finished yet, but Arno Pro? See the discussion here:
http://typophile.com/node/30223

Looks like a fun project. You really don’t need open type if you choose a font family that has an expert collection.

I recently ran into the same set of issues - looking for a sans family to use for caps etc. in an art book. Unfortunately most early to mid-century sans don’t have the open type features - or the full expert set. I ended up creating style sheets for my fractions. I used Electra and Geometric 415 - both by Dwiggins from the 30s. But there are a lot of beautiful serif fonts that have all the requisite bells and whistles such as Dante.

I don’t find DynaGrot appropriate for the period, and find Centaur way too antique looking (altho it does have an expert set). Whitman is lovely.

Not to highjack the thread, but would you mind (Patty) elaborating on the period and DynaGrot? Is it because its sources pre-date the paintings’ period? I sometimes waffle between periods when a type was created and then when it came into fashion/use.

Caledonia might be something to look at for this project.

James - I am actually completely unfamiliar with DynaGrot and can’t find it at any of the font suppliers I know. Is it of the era? I was going on looks and it looked contemporary to me but of course I could be wrong.

I can’t say I really like it but that could also be the large sample, it might look very nice at text sizes.

Can you post a link to it?

No linky ’cause it’s Storm. You have to go to his page and scroll it in.

From Storm’s page—

“In all italics of the DynaGrotesk family, however, the design of lower-case letters markedly differs from that of upright lower-case letters. The warm character of DynaGrotesk derives from early sans-serif type faces, those which appeared before Helvetica. The complete installation of all designs of DynaGrotesk is the professional choice of the designer of the most demanding magazine.”

It does appear less colorful in small sizes, but the pre-Helvetica-institution quirkiness always shines through. There are so many weights and widths I was sure to fail at presenting an example but it seemed to have some resonance with the geometry of Caledonia/Joanna/Whitman. The ear on the “g” and several other details are not a good match though IMO.

It’s on myfonts. I just didn’t know the full name, was searching for DynaGrot

http://www.myfonts.com/fonts/storm/dynagrotesk/

It does have a wide range of weights/styles. I like some more than others. I’m kind of funny in wanting to use actual fonts of the period rather than those inspired by (altho I did consider Verlag for this 30s project I had).

Thanks for the comments, including hijacks et al.

DynaGrot has some endearing quirks, but doesn’t have the right feel. Pre-Helvetica is exactly right. I keep coming back to Trade Gothic, but have to test it in layout with the serif body copy font.

For body copy, I adore Centaur but agree that it is too old world for this project. Joanna’s italic has always had a pinched feel to me. Caledonia would work really well. But at the moment, I’m exploring a surprising possibility: Chapparel. Mark Jamra suggested it and at first I dismissed this, but then discovered that there was a resemblance to a font on a brochure from 1913 (it looks like a Cheltenham Bold). I usually prefer historic fidelity, but am struck by how workable and appealing Chapparel has been so far. It is handsome in widely letterspaced all caps for pull quotes and titles, and very legible as body copy.

Chaparral is really nice and has the right feel I think. It reminds me of Joanna but without the italics problem (which is why I rejected it for my recent project).

Can anybody tell me - does Chaparral come free with any software? I seem to have it in my computer - open type and all - but I’ll be damned if I know how it got there. I can’t even find it in any folders.

Patty I’m pretty sure that came with CS2. I have it as well.

CS 1 then. I don’t have CS 2.

Then it must be the entire CS suite, because it didn’t come with just InD....

The weird part is that the font shows up in Font Explorer but like I said above I can’t actually FIND the font, which means I can’t really use it either unless I embed it in a pdf.

You’re using OS X? Try Library —> Applicaton Support —> Adobe —> Fonts

The only thing you can’t remove is the folder “Reqrd”.

All that’s there is a list. No actual fonts.

I’ve got the fonts, as Tiffany says, in the Adobe Fonts folder. I’m on CS1.

FWIW, this should make a really nice book—slab direction is perfect. This is just the sort of Typophile thread I love.

Oh perhaps you installed the software for one user. Did you try:

tiffany —> library —> application support —> adobe —> fonts ?

Do you have access to them in all the Adobe apps or just one?

I don’t seem to have any fonts in that folder. I should add that I also have Adobe Jensen Pro, Adobe Garmond Pro, Adobe Caslon Pro, all open type, all fonts I didn’t buy (altho I do have the postscript Adobe Garamond and Caslon), all fonts I can’t “find”. I haven’t dived in yet to Open Type so that isn’t a problem - yet.

I first noticed it in my font management software but yes, I can use it in both Quark and InDesign. I haven’t tried embedding it in a pdf yet, but since I couldn’t supply it along with a job I don’t see how I can use it.

Hmm. Crazy. I’ll ping Miguel. Maybe he can suss out the answer.

> Can anybody tell me - does Chaparral come free with any software?

It comes bundled with Illustrator CS and CS2.

Here’s more info:
211 OpenType fonts available with Creative Suite
Fonts bundled with Creative Suite 2 (and individual CS2 products)
InDesign CS bundled OpenType fonts

We answered that part of the question. Oops. I didn’t explain myself.

Perhaps this page will answer your questions:

Take Control of Fonts in Mac OS X - The Adobe Fonts folders
http://www.macworld.com/2006/07/secrets/tcofonts/index2.php