Optikos, as seen here (http://books.google.it/books?id=wIBUC2jFh_oC&pg=PA193), looks like a modification of Revue (http://www.myfonts.com/search/revue/).

I decline to be interested in old types, generically or theoretically.
I gave up reading this post pretty quickly.
However, if you show me something, it may catch my interest.

Quickly, someone do something, you're about to lose him...

There's something cock-eyed somewhere *looks pointedly at Nick Shinn* but millenium hand and shrimp if I can point out what.

Overlooked this one earlier...

Arcadian (27, 59) - http://www.myfonts.com/fonts/nicksfonts/double-d-nf/

Up next, Linopedia! The search for digital (free) fonts that match The Linotype Catalog! Hurrrrrrrrayyy!!!!!!!!!!

(go kill yourself)

Ryan

The Solotype catalog is a catalog of images and does NOT represent fonts available from Dan Solo, although he DID digitize some of them, and they are of course listed in the Solopedia. If you're not familiar with it, the catalog was produced as list of services he offered at his printshop from the mid 1930's through the mid 90's, including special effects as well as font selection.

In no way is the Solopedia an attempt to identify free clones, as you intimate. I haven't looked with that in mind, but I'd estimate that 90% of the identified digitizations are commercial fonts from such sources as Nicksfonts, Linotype, URW, etc. Where free fonts are known, they are also listed; in some cases they are the only known digitization, while in others they may be equivalent or inferior to commercial equivalents, and yes, unfortunately, some are known to be clones from such sour ces as Opti/Castcraft, WSI, and SouthernSoftware.

- Herb.

P22 Kilkenney is my digitization of Nymphic by Hermann Ihlenberg. The Solotype showing was one of my main sources for this revival.

Yes, thank you. There are also number of his fonts there that match the Solo catalog but came from different sources (likely the same sources as Solo's). Those are much harder to find and identify!

- Herb

professional typeface designers with at least 40 professional quality faces under their belt

I'm just curious--How many people do you think are in that pool?

oldnick: The question was about how many type designers, not how many typefaces.

The current Junto includes Ale Paul, Jim Lyles, Patrick Griffin, Mark Simonson, Rian Hughes, Charles Gibbons and I . . . All of whom have developed at least this number of quality typefaces which means we want to keep the bar high for the quality of the revivals we create.

We're certainly looking to expand this group and we have a defined set of standards we adhere to when we create the revivals.

34? http://www.myfonts.com/person/Robert_Slimbach/

Oh, there are people with nominally far fewer typefaces under their belt who have worked on Filmotype fonts (http://www.myfonts.com/foundry/Filmotype/ click on "More info…") but I suspect that that “40” number is mostly a way to discourage less serious people.

Exclusivity is a matter of perception. As Groucho Marx once remarked, “I wouldn’t want to belong to any club that would have me as a member.”

All inquiries are welcomed guys, there is no attempt to be elitist or snobby about it, there are plenty of great fonts in the library and when you take a good long look at the entire project, we're not simply reviving the typefaces, there is a good bit of re-interpretation going on since even the highest quality filmstrips weren't done with perfectly smooth outlines . . .

All the members of the project are very serious about what we're doing and we consider it as historical preservation and that means we have to maintain standards throughout the development process that assures we're respecting the original forms, spacing, kerning, and we must agree on acceptable alternate forms and forms that wouldn't have existed such as the Euro, etc . . . You'd be surprised how much of this is a group effort . . .

I'll be the first to admit my initial idea was just as posted at the top of this thread, slap the Dan X Solo book on the scanner, trace away and call it a revival. That was tempered once I finally met Don Hase and the Friedman family and then it became painfully clear to me it wasn't a slapdash job. It initially required the talents of folks beyond my capabilities as a typeface designer to really bring the work to the level I had intended it be revived as.

I'm very pleased with the result of our efforts thus far and there is plenty of work that remains. The open invitation stands and we welcome all inquiries for participation. I think the original 40 typefaces was more or less a filter as suggested and it is likely a dogmatic mechanism I'll agree to your point Hrant which doesn't truly represent the talents of a designer who's worked on perhaps 15 typefaces or less.

These days, all candidates are discussed by the current members and we decide based on the work that they have published, regardless of volume if we feel they'll be a good fit. And every current member started out by making an inquiry to me which means it's something they shared the vision for the intent of the library which is really the most important aspect of the effort.