At the end of the 19th century, Schelter & Giesecke released
a
series of bicolor typefaces. The basic shadow style was named
Plantin. It could be combined with a fill style named
Murillo. This bicolor package was marketed as
Donatello. It was accompanied by a third style,
Bramante, which is pre-filled with a shade.
Plantin was further available with a couple of
additional alternate letterforms like an uncial E, e, M, N, a
round-bottomed V and W, an A with an angled double bar, or an R
with a leg that starts at the top of the stem. This set (with
shadow) was called Virgil. It could be filled with the
corresponding Aldo Manutio. Together,
Virgil and Aldo Manutio were known as
Tintoretto. The peculiar alternates More…
At the end of the 19th century, Schelter & Giesecke released a series of bicolor typefaces. The basic shadow style was named Plantin. It could be combined with a fill style named Murillo. This bicolor package was marketed as Donatello. It was accompanied by a third style, Bramante, which is pre-filled with a shade.
Plantin was further available with a couple of additional alternate letterforms like an uncial E, e, M, N, a round-bottomed V and W, an A with an angled double bar, or an R with a leg that starts at the top of the stem. This set (with shadow) was called Virgil. It could be filled with the corresponding Aldo Manutio. Together, Virgil and Aldo Manutio were known as Tintoretto. The peculiar alternates were also available for the hatched Bramante, resulting in Buonarroti.
Tintoretto (actually Virgil) was revived in the 1970s as a Letraset typeface. There are various sloppily digitized versions available for free on the net, both of the fill (by Dieter Steffmann) and the shadow version. In 2006, Profonts did a less limited commercial version, consisting of Tintoretto Outline (i.e. Virgil) and Tintoretto Fill (i.e. Aldo Manutio).
