Like De
Vinne, “De Vinne Open or
Outline and Italic […] originated with
Central. In the roman and smaller sizes of italic only the heavy
strokes are outlined; in larger sizes of italic, certain thin
strokes are also outlined. Monotype cut the open faces in 1913.”
[McGrew 1993] The Italic is advertised as
being compatible with the solid for color printing [1899
ATF specimen]. See also De
Vinne Shaded.
In Germany, Hoffmeister showed a De Vinne with open
styles for bicolor printing in 1895 [Archiv].
Registered in June 1894 [Reichsanzeiger].
It was later named Amerikanische
Mediäval [1900,
1902 mentions] and continued by Stempel. [Wetzig 1926–40] Klinkhardt had open
styles as Bianca breit and Bianca Kursiv,
adding a schmal (condensed) style (before 1905). [Reichardt 2011] Continued by Berthold.
[Wetzig 1926–40] John had the Italic as
Lichte Sirius. [Wetzig 1926–40] See also Schelter &
Giesecke’s More…
Like De Vinne, “De Vinne Open or Outline and Italic […] originated with Central. In the roman and smaller sizes of italic only the heavy strokes are outlined; in larger sizes of italic, certain thin strokes are also outlined. Monotype cut the open faces in 1913.” [McGrew 1993] The Italic is advertised as being compatible with the solid for color printing [1899 ATF specimen]. See also De Vinne Shaded.
In Germany, Hoffmeister showed a De Vinne with open styles for bicolor printing in 1895 [Archiv]. Registered in June 1894 [Reichsanzeiger]. It was later named Amerikanische Mediäval [1900, 1902 mentions] and continued by Stempel. [Wetzig 1926–40] Klinkhardt had open styles as Bianca breit and Bianca Kursiv, adding a schmal (condensed) style (before 1905). [Reichardt 2011] Continued by Berthold. [Wetzig 1926–40] John had the Italic as Lichte Sirius. [Wetzig 1926–40] See also Schelter & Giesecke’s Tasso, an open cut of Romanisch.
