Cloister Black (1904, Benton), usually credited to Phinney, but many authorities give full credit to Benton. It is an adaptation of Priory Text, an 1870s version of
William Caslon’sCaslon Text of 1734. Lower-case letters are identical with Phinney's earlier Flemish Black.
Globe Gothic (c. 1900, Benton), a refinement of Taylor Gothic, designed by
ATF vice-president Phinney in 1897 for
Charles H. Taylor for the exclusive use of the
Boston Globe.
Pabst Old Style or
Pabst Roman (1902, Goudy), based on hand lettering done by Goudy for advertisements for the
Pabst Brewing Company, though commissioned by Schlesinger & Mayer, a
Chicago department store. Cast by Goudy with the proviso that the department store would have the exclusive use of the font for a time before it would be offered to the public. These were the first matrices cut by
Robert Wiebking for Goudy.
Taylor Gothic (1897, Phinney), capitals only, lower-case based on Central Type Foundry of St. Louis' Quentell. Later re-worked by either Benton or
Goudy as Globe Gothic.
Thermotype (1931, Benton), with three widths on the same basic design they prefigured the failed Univers by some twenty years.
Camelot (1896, Goudy), Goudy designed only the capitals, lower-case letters were evidently added by Dickinson/ATF designer Phinney. A delicate display face with small wedge serifs.[2]
Card Mercantile (1901, Benton), a redesign of the two smallest sizes of an 1890s
Dickinson Type Foundry design that
ATF had acquired when the companies merged in 1896.
Inland Type Foundry
These foundry types were originally cast by
Inland Type Foundry and sometimes later modified:
Card Litho + Card Light Litho (1917, Benton), a modification of a 1907 ITF design that ATF had acquired when the companies merged in 1912.
American Caslon (1919, Benton), based on the foundry's Inland New Caslon, a version of a face originally cut by
William Caslon in the 18th century.
Light Oldstyle (1916), probably an old font from ITF, but sometimes credited to Benton.
Powell (1903, Goudy), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned Pabst Old Style for another store), and named after him.[3]
Copperplate Gothic Heavy (1905, Goudy), originally designed for
Marder, Luse, & Co., ATF immediately adopted it and made it the first in a hugely successful series.
P. T. Barnum (1938 + 1949) a revival of Marder, Luse, & Co.'s nineteenth century French Clarendon, also known as Italian Condensed.[4]
^"LTC Powell". MyFonts. LTC. Retrieved 27 August 2015.
^McGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993,
ISBN0-938768-34-4, p. 25. Other sources, noltably Jaspert, credit this face to BB&S, while McGrew speculates that some of the sizes might actually have been cast from the
Bruce Foundry'sItalian Condensed #341.
^Lawson, Alexander S., Anatomy of a Typeface, David R. Godine, Publisher, Boston, Massachusetts, 1990,
ISBN0-87923-333-8, p. 297.
Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983,
ISBN0-7137-1347-X.
MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993,
ISBN0-938768-34-4.
Rollins, Carl Purlington American Type Designers and Their Work. in Print, V. 4, #1.
Cloister Black (1904, Benton), usually credited to Phinney, but many authorities give full credit to Benton. It is an adaptation of Priory Text, an 1870s version of
William Caslon’sCaslon Text of 1734. Lower-case letters are identical with Phinney's earlier Flemish Black.
Globe Gothic (c. 1900, Benton), a refinement of Taylor Gothic, designed by
ATF vice-president Phinney in 1897 for
Charles H. Taylor for the exclusive use of the
Boston Globe.
Pabst Old Style or
Pabst Roman (1902, Goudy), based on hand lettering done by Goudy for advertisements for the
Pabst Brewing Company, though commissioned by Schlesinger & Mayer, a
Chicago department store. Cast by Goudy with the proviso that the department store would have the exclusive use of the font for a time before it would be offered to the public. These were the first matrices cut by
Robert Wiebking for Goudy.
Taylor Gothic (1897, Phinney), capitals only, lower-case based on Central Type Foundry of St. Louis' Quentell. Later re-worked by either Benton or
Goudy as Globe Gothic.
Thermotype (1931, Benton), with three widths on the same basic design they prefigured the failed Univers by some twenty years.
Camelot (1896, Goudy), Goudy designed only the capitals, lower-case letters were evidently added by Dickinson/ATF designer Phinney. A delicate display face with small wedge serifs.[2]
Card Mercantile (1901, Benton), a redesign of the two smallest sizes of an 1890s
Dickinson Type Foundry design that
ATF had acquired when the companies merged in 1896.
Inland Type Foundry
These foundry types were originally cast by
Inland Type Foundry and sometimes later modified:
Card Litho + Card Light Litho (1917, Benton), a modification of a 1907 ITF design that ATF had acquired when the companies merged in 1912.
American Caslon (1919, Benton), based on the foundry's Inland New Caslon, a version of a face originally cut by
William Caslon in the 18th century.
Light Oldstyle (1916), probably an old font from ITF, but sometimes credited to Benton.
Powell (1903, Goudy), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned Pabst Old Style for another store), and named after him.[3]
Copperplate Gothic Heavy (1905, Goudy), originally designed for
Marder, Luse, & Co., ATF immediately adopted it and made it the first in a hugely successful series.
P. T. Barnum (1938 + 1949) a revival of Marder, Luse, & Co.'s nineteenth century French Clarendon, also known as Italian Condensed.[4]
^"LTC Powell". MyFonts. LTC. Retrieved 27 August 2015.
^McGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993,
ISBN0-938768-34-4, p. 25. Other sources, noltably Jaspert, credit this face to BB&S, while McGrew speculates that some of the sizes might actually have been cast from the
Bruce Foundry'sItalian Condensed #341.
^Lawson, Alexander S., Anatomy of a Typeface, David R. Godine, Publisher, Boston, Massachusetts, 1990,
ISBN0-87923-333-8, p. 297.
Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983,
ISBN0-7137-1347-X.
MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993,
ISBN0-938768-34-4.
Rollins, Carl Purlington American Type Designers and Their Work. in Print, V. 4, #1.