Goudy, 1921), Bembo, Fournier, Baskerville by Stanley Morison (Monotype, 1920). Recently, there has been some research that appears to demonstrate that Morison adapted his design from an earlier one created by American Starling Burgess in the beginning of the twentieth century.

Lastly, there were quite innovative creations such as Metro and Caledonia (William A.ĭwiggins, 19308), and Romulus (Jan van Krimpen, 1925), the first typeface family to include serif and sans serif versions. Others took as a starting point the work of Nicolas Jenson (fifteenth century), such as Centaur (Bruce Rogers, 1914), and of the Roman lapidary style, such as Perpetua and Gill Sans (color:darkredGill Sans) (Eric Gill, 192930). That brought new designs: some, like Cheltenham (color:darkred ITC Century, ITC Cheltenham), or Franklin Gothic (Morris Fuller Benton, 1903), came in a many weights for the growing area of advertising. To follow part 1 rule, after each subtitle we have indicated, according to the Vox-ATypI classification, the category of the referenced typefaces, but here again, it become difficult as the last years dont follow particular classification. Part One, covering the origins to the twentieth century is also available.

This history, normally told from the Anglo-Saxon point of view, is from a French perspective, allowing the reader to form ones own opinion.

Unger chancery font