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FF Scala is an old-style serif typeface designed by Dutch typeface designer Martin Majoor in 1991 for the Muziekcentrum Vredenburg in Utrecht, the Netherlands. The FF Scala font family was named for the Teatro alla Scala (1776–78) in Milan, Italy. Like many contemporary Dutch serif faces, FF Scala is not an academic revival of a single ...
Ehrhardt is an old-style serif typeface released by the British branch of the Monotype Corporation in 1938. Ehrhardt is a modern adaptation of printing types of "stout Dutch character" from the Dutch Baroque tradition sold by the Ehrhardt foundry in Leipzig. [1]
The Enschedé Font Foundry Lexicon is a serif typeface designed by Dutch type designer Bram de Does between the years 1989 and 1992. The typeface was specially designed for use at very small point sizes in Van Dale 's Dictionary of the Dutch Language .
Janson is the name given to a set of old-style serif typefaces from the Dutch Baroque period, and modern revivals from the twentieth century. [1] [2] [3] Janson is a crisp, relatively high-contrast serif design, most popular for body text.
In the 20th century, only two major typefoundries survived in the Netherlands. In Haarlem, the old typefoundry of Joh. Enschedé was their competitor. In order to divide the market, these firms kept a certain difference in type-height. Amsterdam: 66 + 1/24 point Didot, and Enschedé: 66 - 1/24 point Didot.
Also the official font for all the signage system of the Spanish Government. Modified variant of Gill Sans Bold Condensed used on road signs in former East Germany until 1990. [26] [27] Goudy Old Style: Used on Victoria PTC railway station signs in the 1990s, replacing the green The Met signs.
Hightower Text (1990–94) - a "Venetian" old-style serif inspired by the work of Nicolas Jenson. Initially used by the journal of AIGA. [5] Nobel (1991–93) revival of the Lettergieterij Amsterdam geometric sans-serif. This was developed by Sjoerd Hendrik de Roos and Dick Dooijes by taking the Berthold foundry's Berthold-Grotesk and altering ...
The roman types used c. 1618 by the Dutch printing firm of Elzevir in Leyden reiterated the 16th-century French style with higher contrast, less rigor and a lighter page effect. After 1647 most Elzevir faces were cut by the highly regarded Christoffel van Dyck, whose precise renditions were regarded by some experts at the time as finer than ...