Post #1976655
2026-05-04 13:54 UTC
I was meeting with @onpaperwings last week and, naturally, we veered off on a tangent about our favorite shared interest: all things Linotype.
My focus has generally been “American” Linotype (i.e. Mergenthaler Linotype Co. or MLCo.), and the types developed here under C. H. Griffith’s direction.
But I was lamenting that some interesting typefaces cut at “British” Linotype (i.e. Linotype & Machinery Ltd. or L&M), under the direction of Walter Tracy, seem to have never made it over to this side of the Atlantic.
1/
Replies (1)
-
@kentlew@typo.social 2026-05-04 13:57
In particular, I was thinking of George W. Jones’s Georgian — a transitional face in the manner of Wilson, Fry, et al. It’s almost completely unknown over here. And I don’t think it ever saw much use even in Great Britain, despite being favorably reviewed early on by typographers on both sides. Certainly not the widespread adoption of his better-known types — Granjon and Linotype Baskerville. Jones’s Estienne is also less known and somewhat overlooked; but at least it got picked up and offered stateside by MLCo. I’ve never seen Georgian in a Mergenthaler catalog. So I thought I’d share a few samples that I have managed to collect. 2/