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Monotype’s Pencil to Pixel in NYC

If you love type and you’re in NYC this weekend and find yourself in Soho, perhaps make the trek to Tribeca to see some original type (and process) with Monotype’s Pencil to Pixel. You could probably just walk in but here’s the eventbrite listing http://penciltopixel.eventbrite.com/ The address is Tribeca Skyline Studio, 205 Hudson Street (12th floor). There’s a number of paper works that demonstrate the process of typefaces that wouldn’t be otherwise accessible to view. Last night I had the opportunity to view things just after they put up the show.

Update: I’ve updated the photos with captions thanks to Ketan Deshpande who was nice enough to contact James Fooks-Bale and Dan Rhatigan for the text.

amazing type everywhere at #penciltopixel by @bymonotype
Bruce Rogers originally designed Centaur for foundry setting, but later drew this somewhat altered version for the Monotype release in 1914

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The 10-inch drawing for the “e” and “g” of Gill Sans from 1929 shows the accent marks and style variations added to the basic forms

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Eric Gill’s 1928 pencil and ink drawings for Gill Sans Italic shows details later revised for the Monotype release

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Chris Brand drew these amended glyphs for Albertina to fit the requirements of the Monophoto system (1963)

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Original ink drawings by Eduardo Cotti for the Pastonchi family, designed with Francesco Pastonchi in 1927

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Bruce Rogers originally designed Centaur for foundry setting, but later drew this somewhat altered version for the Monotype release in 1914

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Details added to a 10-inch drawing of “d” and “c” for Times New Roman indicate related forms requested decades after the original release

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Glass font for the Diatype machine, colloquially named the “duck-shooter” because of the trigger used to select and set each character

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Film positives for Haas Unica show the dramatic “traps” designed to compensate for the spread of both light and ink during reproduction

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Friskets (transparent film from which the image of a glyph was cut with a scalpel) for Neue Helvetica, cut at the Stempel foundry in 1983

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“O” series by Mario Godlewski. Outlined “O’s” from various fonts were projected as digital light images, and were subsequently photographed at long exposure with a moving camera. The resulting images give a three-dimensional, extruded form only evident once the image is processed.

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Design for the reader, not the device. Ensuring that content is readable, accessible and attractive regardless of the technology used has long been the role of typography.

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  • http://twitter.com/larry_mayorga Larry Mayorga

    Awesome exhibition and tour.