“In 1921, Walter Tiemann designed Narcissus [in
Germany: Narziß] for Klingspor after a suave set of
ornamental inline capitals first cut by Simon Pierre Fournier about
1745. In 1925, Mergenthaler Linotype reproduced Tiemann’s type,
calling it Narciss. The elegance of Fournier’s Louis
XVI design created a vogue in late eighteenth-century Paris;
Narciss and Narcissus sparked a revival
in the twenties. Brian Lucid’s cut reflects the urbane air of a
master.” –
Font Bureau, 1995.
Cast as Mirandolina by Fondografica [Reichardt] and
Reggiani.
In addition to Font Bureau’s revival, there is also a
digitization by Jim Spiece, Narcissus More…
“In 1921, Walter Tiemann designed Narcissus [in Germany: Narziß] for Klingspor after a suave set of ornamental inline capitals first cut by Simon Pierre Fournier about 1745. In 1925, Mergenthaler Linotype reproduced Tiemann’s type, calling it Narciss. The elegance of Fournier’s Louis XVI design created a vogue in late eighteenth-century Paris; Narciss and Narcissus sparked a revival in the twenties. Brian Lucid’s cut reflects the urbane air of a master.” – Font Bureau, 1995.
Cast as Mirandolina by Fondografica [Reichardt] and Reggiani.
In addition to Font Bureau’s revival, there is also a digitization by Jim Spiece, Narcissus SG (Spiece Graphics, 1993), adding a Solid cut, and one by Ralph M. Unger, RMU Narziss (2018).
