Odyssey of Homer (Limited Editions Club)
4 Comments on “Odyssey of Homer (Limited Editions Club)”
Some more details on TEFF:
Bram de Does (1934–2015) was a fervent admirer of Jan van Krimpen, especially his Romanée. When Enschedé bought photocomposition machines, they decided to make a photographic Romanée and consulted De Does.
De Does thought it to be a terrible idea—Romanée’s charm partially rested in its size-specific designs. Enschedé then said to him—why don’t you design one? So De Does embarked on a journey of converting Romanée’s beauty into a photo-ready typeface: Trinité.
Trinité later became so popular on its own that it was digitized as a PostScript Type 1 font. This digital Trinité was also a huge success. Peter Matthias Noordzij set up an Enschedé offshoot—TEFF—to manage its sales.
TEFF did not really become a type business until the addition of other typefaces, such as De Does’s Lexicon.
Do you know whether the open initial in the fifth image is type? It is quite similar (but not identical) to the later Romulus Open. In Letters of Credit, Tracy mentions that Van Krimpen said the effect of these open caps, with intact profiles, pleased him more than the previous Lutetia Open, where the white line had been cut through the edges of the letters.
That inital 'N’ is a beautiful piece of engraving. It also looks a lot like a simplified version of his initials for the Curwen Press, too. Of course Van Krimpen designed dozens of pieces of incidental lettering over his career.
I vaguely wondered if it might be something from the archives but nothing in the Enschede specimens of 1768 or 1825 is even slightly similar.
Incidentally, since it seems to be discussed nowhere else on the internet, I might as well put here that John Lane’s Amsterdam talk (24 mins in) mentions that about fifteen years ago Justin Howes discovered that there’s a complete type specimen of Christoffel van Dijck/Dyck in the National Archives in London. This is quite some discovery-I wasn’t previously aware of it, although I’ve now found that Lane mentions it in a 2013 article, because until then no historian of type design apparently knew such a thing existed: all there was to go on was an impressive, but jumbled-up specimen issued ten years after he died (see Shaw/Dutch Type), and some really nice fragments from an early specimen that had been cut up to put in a scrapbook. (There’s two eerily similar stories with-I think-the first German specimen of sans-serif types-it was thought that the only copy had been destroyed in WWII, but Sébastien Morlighem found another copy in Cambridge recently, and the famous 1592 Berner Specimen in Frankfurt which was also mislaid after the war.) Anyone fancy paying them to do a photograph?