Designed by Jan van Krimpen, cut by P.H. Rädisch and released by Enschedé in 1925 in
roman and italic. First used in a catalog for the
Exposition internationale des arts décoratifs et industriels
modernes in Paris, and hence named after the Roman name of
Paris.
A revised version with several modified characters (most
notably an ‘e’ now with horizontal bar) was made in 1928 for the
Carnegie Institute of Technology in Pittsburgh. [Dutch Type]
Adopted for the Monotype from 1928 on and released in 1930 as
Series 255 [Monotype
UK]. Incl. small caps for the roman and swash alternates for
the italic. Accompanied by Lutetia Open, a set of
handtooled caps.
The roman and the open caps were
revived by Barbara Bigosińska during her Type and Media studies
at the KABK in The Hague (unreleased). Lutetia More…
Designed by Jan van Krimpen, cut by P.H. Rädisch and released by Enschedé in 1925 in roman and italic. First used in a catalog for the Exposition internationale des arts décoratifs et industriels modernes in Paris, and hence named after the Roman name of Paris. A revised version with several modified characters (most notably an ‘e’ now with horizontal bar) was made in 1928 for the Carnegie Institute of Technology in Pittsburgh. [Dutch Type] Adopted for the Monotype from 1928 on and released in 1930 as Series 255 [Monotype UK]. Incl. small caps for the roman and swash alternates for the italic. Accompanied by Lutetia Open, a set of handtooled caps.
The roman and the open caps were revived by Barbara Bigosińska during her Type and Media studies at the KABK in The Hague (unreleased). Lutetia Nova (RMU, 2014) is a commercial interpretation in roman and italic styles. Berton Hasebe has also been working on a revival since around 2010 [Ohno Radio].
