“… a synthesis of a variety of historical sources, updated for
contemporary use. Spiral-curled loops in place of ball terminals;
delicate long serifs, swollen with bracketing; bowed crossbars on
characters like A and H; the stately proportions of inscriptional
capitals. Toward the end of the 19th century, several competing
foundries offered designs featuring these elements. Variations on
the theme were manufactured by Bruce’s Type Foundry, MacKellar,
Smiths & Jordan, Cincinnati Type Foundry, and Stephenson Blake.
With names like Runic and
Celtic,
these types appealed to the popular appetite for semblances of
exoticism and scholarship.” [XYZ More…
“… a synthesis of a variety of historical sources, updated for contemporary use. Spiral-curled loops in place of ball terminals; delicate long serifs, swollen with bracketing; bowed crossbars on characters like A and H; the stately proportions of inscriptional capitals. Toward the end of the 19th century, several competing foundries offered designs featuring these elements. Variations on the theme were manufactured by Bruce’s Type Foundry, MacKellar, Smiths & Jordan, Cincinnati Type Foundry, and Stephenson Blake. With names like Runic and Celtic, these types appealed to the popular appetite for semblances of exoticism and scholarship.” [XYZ Type]
The family spans three widths, each with five weights in roman and italic styles. Working title was Alloy.
