142:, a chapter of which assesses Van Krimpen's entire output. From his perspective as a designer who had worked on types for newspapers and small-size printing, Tracy felt that van Krimpen's love of classical letterforms made his work sometimes interesting but often impractical for general use: "a person of knowledge, ability, and taste... the empirical attitude and the practical method were not, it seems, Van Krimpen's way... he worked from an inner vision, not from a broad view of practical realities and requirements." Tracy considered Spectrum "crisp and positive" and "the most practical" of Van Krimpen's types. Van Krimpen had reservations about the quality of machine engraving of type punches and most of his designs were cut into metal by Enschedé's house
366:
99:
107:
2078:
1260:
191:
225:
Of this font, the first trial was made by Rädisch. The punches and matrices of the second version were controlled by van
Krimpen. There were two sizes of Open Capitals. Van Krimpen started to alter 36pt and 48pt capitals taking some lead away from the surface. They were used as initials in printed
149:
Normally a punchcutter like Rädisch would add some personal interpretation on the final result of the font. This was the fact with the first trial of the
Lutetia-font. Van Krimpen did not accept this and insisted that all punches should be recut. Sem Hartz describes this as follows: "The designer,
60:
Van
Krimpen was a leading figure of international reputation in book printing during his lifetime. He designed books both in the Netherlands and for the Limited Editions Club of New York, amongst others. His work has been described as traditional and classical in style, focusing on simplicity and
245:. He wanted to use the Lutetia, but asked for some changes. This led to a change in the following characters: C E F G L Q e h i j . , : ; ( ) - ` ' . Van Krimpen was quite pleased with the new version. But when Bert Clarke and David Way of Clarke & Way Inc., and
118:
machine. Although a good few have been digitised (Romulus, Haarlemmer, Spectrum), the typefaces are only rarely used in publications. Van
Krimpen was opposed to the idea of directly reviving type designs of the past, and his work is influenced by the structure of classical
177:
which says "I do not want to be taken for the man who designed something so ridiculously poor as the sloped
Romulus bold" that Monotype had produced without his involvement while Van Krimpen was trapped in the Netherlands during the war. Some of his papers are held by the
754:
81:
International
Exhibition for Book Trade and Graphic Art (BuGra) (1914) awakened his taste for calligraphy, typography, bookbinding and type design. At first he tried to establish a bookbinding business, but soon he devoted himself to typography and publishing.
85:
Van
Krimpen married three times. His first marriage was in 1916 with Nini Brunt (1891-1984), the daughter of a The Hague bookseller, whom he divorced in 1929. Van Krimpen's only child was his son Huibrecht, usually known as
762:
165:
disrupted the project before completion. After the war, Van
Krimpen was not interested in resuming it. The decision to use a sloped roman rather than a true italic was influenced by the theories of his friend
170:, who for a time suggested that italics were too disruptive to the flow of text and should be phased out except for decorative printing. Both Van Krimpen and Morison later moved away from this idea.
249:
in New York around 1947 offered their version of the font for general use, Van
Krimpen rejected the offer. The availability of an alternative version, in his eyes, would only lead to confusion.
157:, a chancery italic (Cancelleresca Bastarda), a sans-serif, and a Greek in a range of weights. A type family this extensive would have been a first, comparable to today's
150:
however, insisted on a recutting of the type, and although it certainly is flawless in its final form it has a slightly stilted look which is absent from its first form."
1290:
246:
234:
87:
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732:
123:
in the upper case and chancery calligraphy of the
Renaissance in italic. His approach of pursuing a personal path in type design was continued by
2108:
1212:
on certain problems connected with mechanical cutting of punches, a facsimile reproduction with an introduction and commentary by John Dreyfus
344:
have also been digitised by ARTypes of Chicago. ARTypes also digitised some sets of van Krimpen initial designs that are no longer on sale.
1326:
490:
Lommen, Mathieu (1 January 1994). "Jan van Krimpen and Bruce Rogers: two approaches to traditional typography in a modern perspective1".
124:
2118:
1153:
1063:
483:
1123:
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577:
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Adieu aesthetica & mooie pagina's! J. van Krimpen en het Schoone Boek. Letterontwerper & boekverzorger 1852-1958
17:
991:
918:
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447:
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Van Krimpen was renowned for his perfectionism, but also for his temper. Monotype's archives preserve a letter to
1355:
524:
74:
1717:
858:
1312:
913:(New ed. with additions by several hands ed.). Cambridge: Cambridge University Press. p. 114.
758:
114:
Van Krimpen's type designs are elegant book typefaces, originally made for manual printing and for the
2123:
687:
Ovink, G. Willem (1 January 1980). "Grandeurs and Miseries of the Punch-Cutter's Craft: a review of
190:
532:
323:
179:
310:. Van Krimpen's level of involvement in this project was apparently mostly that of a consultant.
1740:
1577:
594:
1190:
The Work of Jan van Krimpen. A Record in Honour of his Sixtieth Birthday. With a foreword by
567:
307:
127:, his successor at Enschedé, and has been of interest to more recent Dutch designers such as
120:
2103:
2098:
1958:
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34:
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8:
1968:
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1933:
1731:
1687:
1676:
1622:
1565:
1524:
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1477:
1399:
1276:
1273:, notes on van Krimpen's career with samples of several designs not digitally available
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1987:
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54:
956:
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texts by Enschedé. Later it was decided to make matrices for these variants, too.
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50:
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in England, that issued or reissued many of his designs outside the Netherlands.
2058:
1992:
1015:
381:
Kuipers, Reinold (1 January 1995). "J. van Krimpen, the typographer Part One".
353:
230:
153:
Of special note is the Romulus 'superfamily', consisting of a seriffed font, a
664:
Ovink, G. Willem (1973). "Review: Jan van Krimpen, A Letter to Philip Hofer".
2092:
1902:
1799:
463:
Van Velden, Dora (1 January 1974). "Notes to early work by Jan van Krimpen".
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128:
46:
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394:
1997:
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135:
90:(1917-2002), himself a typographer and a prolific writer about typography.
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1440:
278:
42:
134:
An extensive review of van Krimpen's work may be found in type designer
110:
Spectrum, a text typeface designed by Van Krimpen between 1941 and 1943.
1963:
1745:
1542:
1446:
1393:
238:
1292:
A Checklist of the 100-Cent Postage Stamps Designed by Jan van Krimpen
566:
Martijn F. Le Coultre; Ellen Lupton; Alston W. Purvis (October 2001).
408:
Kuipers, Reinold (1 January 1995). "J. van Krimpen, the typographer".
1682:
1514:
1304:
456:
98:
1224:. London, Gordon Fraser/ Boston, David R. Godine, 1986. Page 101-120
194:
Van Krimpen's Cancelleresca Bastarda typeface, in a text printed by
1422:
158:
106:
724:
1852:
859:"Cancelleresca Bastarda Impallari (open-source revival, in beta)"
78:
38:
850:
689:
A to Z. Een autobiografie van P.H. Rädisch, staal-stempelsnijder
1908:
1483:
1428:
1259:
1239:
De Couturedoos, Van Krimpen-vondsten voor het huis van het boek
592:
721:, 1992, Serif Pers, Amsterdam, (ed. Matthieu Lommen), p. 33-38
306:(1935, Monotype); based on types believed to have been cut by
2002:
1953:
1896:
1530:
1450:
1301:(archived download link of open-source font in beta version)
755:"Beschrijving van het archief Jan van Krimpen ca. 1915-1958"
356:, a Dutch publisher for whom van Krimpen designed many books
102:
Haarlemmer, a text typeface designed by Van Krimpen in 1938.
1279:, a company which has digitised several van Krimpen designs
428:
877:
519:
517:
515:
513:
442:. Washington, D.C.: Hartley and Marks / Lund Humphries.
73:
merchants. Around 1910-1912, he followed courses at the
273:(1931, Enschedé, also 1936 Monotype, sloped form is an
1299:
Cancelleresca Bastarda digitisation by Pablo Impallari
911:
A tally of types (postscript on Van Dijck by Hoeflake)
783:
Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson.
510:
69:
Jan van Krimpen was born into a family of well-to-do
2081:
Dates are approximate only. Not all typefaces shown.
1056:
593:Philip B. Meggs; Alston W. Purvis (14 April 2016).
546:
544:
542:
975:
316:(1938, Monotype); release cancelled due to the war
572:. Princeton Architectural Press. pp. 19–20.
229:In the summer of 1929 van Krimpen was visited by
2090:
888:. New Haven: Yale University Press. p. 74.
825:
559:
539:
1030:
927:
586:
340:Some initials designed by van Krimpen for the
1320:
949:
569:Wendingen - A Journal for the Arts, 1918-1932
1086:
401:
374:
1000:
798:
730:
599:. John Wiley & Sons. pp. 199–202.
146:P.H. Rädisch, at least in the pilot sizes.
2077:
1327:
1313:
981:
523:
462:
986:. Rotterdam: 010 Publishers. p. 62.
883:
1222:Letters of credit. A view of type design
908:
364:
189:
105:
97:
1237:Paul Snijders & Marieke van Delft,
1196:Haarlem-Utrecht, Enschedé-De Haan, 1952
635:
434:
407:
380:
14:
2091:
1334:
1286:" (010 Publishers, 2004) (pages 54–64)
489:
161:family by Majoor. The outbreak of the
2109:Dutch typographers and type designers
1308:
856:
686:
663:
322:(1947), designed for a Bible made by
733:"Letter from van Krimpen to Morison"
369:Initials designed by Jan van Krimpen
1750:Palace and Dorchester Script (1938)
1387:(1911) and Italian Old Style (1919)
336:(1952 Enschedé, also 1955 Monotype)
49:. He worked for the printing house
24:
1231:. Amsterdam, De Buitenkant, 1995.
787:Blandford Press Lts.: 1953, 1983,
731:van Krimpen, Jan (24 April 2014).
619:
206:were designed by Jan van Krimpen:
25:
2135:
1252:
804:
550:
243:Catalogue of the Frick Collection
241:. Garnett was asked to print the
75:Royal Academy of Art in The Hague
2119:People from Gouda, South Holland
2076:
1258:
1241:. The Hague, Stichting Vrienden
596:Meggs' History of Graphic Design
64:
1214:. Boston, David R. Godine, 1972
1203:. New York, The Typophiles 1957
1179:
1146:
1116:
785:The Encyclopedia of Type Faces.
777:
711:
613:
185:
93:
61:high quality of book printing.
1201:On Designing and Devising Type
27:Dutch typographer and designer
13:
1:
1227:Koosje Sierman & others,
360:
37:– 20 October 1958, in
7:
622:"My type design philosophy"
440:The Work of Jan van Krimpen
347:
10:
2140:
1616:Zarotto/Mardersteig (1932)
759:Universiteit van Amsterdam
2074:
2045:
2026:
1977:
1943:
1920:
1839:
1771:
1757:
1558:
1415:
1377:
1343:
1160:. ARTypes. Archived from
1130:. ARTypes. Archived from
1100:. ARTypes. Archived from
1070:. ARTypes. Archived from
326:and named for Archbishop
51:Koninklijke Joh. Enschedé
1361:French Round Face (1906)
982:Middendorp, Jan (2004).
909:Hoeflake, Netty (1973).
886:An A-Z of type designers
884:Macmillan, Neil (2006).
2114:Dutch graphic designers
1671:(for the Greynog Press)
1295:" (Kat Ran Press, 2015)
705:10.1163/157006980X00149
674:10.1163/157006973X00237
533:Oxford University Press
504:10.1163/157006994X00171
477:10.1163/157006974X00245
422:10.1163/157006995X00026
395:10.1163/157006995X00062
324:Oxford University Press
180:University of Amsterdam
535:. pp. 99–105 etc.
529:Methods of Book Design
370:
285:Cancelleresca Bastarda
199:
111:
103:
53:. He also worked with
1703:(for R & R Clark)
1064:"Open Roman Capitals"
368:
308:Christoffel van Dijck
256:(1928-1949, Enschedé)
193:
121:Roman square capitals
109:
101:
33:(12 January 1892, in
1646:Felix Titling (1934)
1267:at Wikimedia Commons
863:ArchLinux repository
765:on 11 September 2015
45:, book designer and
1930:News Plantin (1979)
1487:(1926, private use)
555:. pp. 101–120.
266:Romulus type family
260:Open Roman Capitals
233:, the owner of the
1468:Goudy Heavy (1925)
1390:Forum Title (1911)
1370:Goudy Light (1908)
1277:Dutch Type Library
1154:"Romulus Capitals"
857:Impallari, Pablo.
837:Dutch Type Library
833:"DTL Romulus Text"
735:. Monotype Archive
371:
200:
112:
104:
18:Lutetia (typeface)
2086:
2085:
2053:Classic Grotesque
1912:(general release)
1827:(general release)
1718:Twentieth Century
1457:Italian Old Style
1289:Michael Russem, "
1282:Jan Middendorp, "
1263:Media related to
1206:Jan van Krimpen,
1038:"Curwen Initials"
606:978-1-119-13620-0
579:978-1-56898-276-2
553:Letters of Credit
247:The Thistle Press
140:Letters of Credit
77:. A visit to the
16:(Redirected from
2131:
2080:
2079:
2013:Strayhorn (1995)
1984:Ellington (1990)
1887:Albertina (1964)
1866:(public release)
1814:Mercurius (1957)
1811:Castellar (1957)
1782:Festival Titling
1728:Van Dijck (1937)
1654:Van Dijck (1935)
1511:Pastonchi (1928)
1474:Horley Old Style
1329:
1322:
1315:
1306:
1305:
1271:Klingspor Museum
1262:
1243:Museum Meermanno
1199:J. van Krimpen,
1174:
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1023:
1014:. Archived from
1004:
998:
997:
979:
973:
972:
970:
968:
953:
947:
946:
944:
942:
935:"DTL Haarlemmer"
931:
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899:
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865:. Impallari Type
854:
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843:
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761:. Archived from
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525:Williamson, Hugh
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293:(never released)
287:(1934, Enschedé)
262:(1929, Enschedé)
235:Laboratory Press
215:Enschedé Foundry
163:Second World War
88:Huib van Krimpen
21:
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2128:
2089:
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2041:
2022:
2010:Columbus (1992)
1973:
1939:
1916:
1835:
1778:Condensa (1951)
1767:
1753:
1712:(for J.M. Dent)
1650:Tempest Titling
1619:Monoline Script
1611:Times New Roman
1572:Ashley Crawford
1554:
1459:(Goudy, 1924/7)
1411:
1406:Caslon Old Face
1373:
1367:(1907 and 1920)
1339:
1333:
1265:Jan van Krimpen
1255:
1192:Stanley Morison
1182:
1177:
1167:
1165:
1164:on 19 July 2019
1152:
1151:
1147:
1137:
1135:
1134:on 19 July 2019
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1117:
1107:
1105:
1104:on 19 July 2019
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1074:on 19 July 2019
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1021:
1019:
1018:on 19 July 2019
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957:"Haarlemmer MT"
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551:Tracy, Walter.
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328:Gilbert Sheldon
304:Van Dijck Roman
196:Stanbrook Abbey
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175:Stanley Morison
168:Stanley Morison
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67:
31:Jan van Krimpen
28:
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1995:
1993:Century Gothic
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1971:
1966:
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1927:Photina (1972)
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1517:(1928 onwards)
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1497:Othello (1928)
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1253:External links
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1204:
1197:
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1178:
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1175:
1145:
1124:"Romulus Open"
1115:
1094:"Lutetia Open"
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974:
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805:Unger, Ralph.
797:
795:, pp. 2408–249
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400:
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354:A. A. M. Stols
349:
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277:rather than a
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231:Porter Garnett
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1008:"Spectrum MT"
1003:
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993:9789064504600
989:
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978:
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920:9780521097864
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895:9780300111514
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807:"RMU Lutetia"
801:
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793:0-7137-1347-X
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297:Romulus Greek
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204:foundry types
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183:
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132:
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129:Martin Majoor
126:
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65:Personal life
62:
58:
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47:type designer
44:
40:
36:
32:
19:
1998:Book Antiqua
1911:
1893:New Berolina
1865:
1826:
1796:Klang (1955)
1711:
1702:
1670:
1664:Grock (1935)
1658:
1486:
1365:Scotch Roman
1291:
1246:
1238:
1232:
1228:
1221:
1218:Walter Tracy
1210:Philip Hofer
1208:A letter to
1207:
1200:
1189:
1186:John Dreyfus
1180:Bibliography
1168:17 September
1166:. Retrieved
1162:the original
1157:
1148:
1138:17 September
1136:. Retrieved
1132:the original
1127:
1118:
1108:17 September
1106:. Retrieved
1102:the original
1097:
1088:
1078:17 September
1076:. Retrieved
1072:the original
1067:
1058:
1048:17 September
1046:. Retrieved
1041:
1032:
1022:17 September
1020:. Retrieved
1016:the original
1011:
1002:
983:
977:
967:17 September
965:. Retrieved
960:
951:
941:17 September
939:. Retrieved
929:
910:
904:
885:
879:
869:17 September
867:. Retrieved
862:
852:
842:17 September
840:. Retrieved
827:
817:17 September
815:. Retrieved
810:
800:
784:
779:
769:17 September
767:. Retrieved
763:the original
749:
739:17 September
737:. Retrieved
726:
718:
713:
696:
692:
688:
682:
665:
659:
649:17 September
647:. Retrieved
637:
627:12 September
625:. Retrieved
615:
595:
588:
568:
561:
552:
528:
495:
491:
485:
468:
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458:
439:
430:
413:
409:
403:
386:
382:
376:
342:Curwen Press
339:
333:
319:
313:
303:
296:
291:Romulus Sans
290:
284:
270:
265:
259:
253:
228:
224:
210:
201:
186:Foundry Type
172:
155:sloped roman
152:
148:
139:
136:Walter Tracy
133:
113:
94:Type designs
84:
68:
59:
30:
29:
2104:1958 deaths
2099:1892 births
2065:Joanna Sans
2055:(2012/2016)
1741:Sachsenwald
1607:Littleworth
1578:Braggadocio
1441:Baskerville
813:. RMU Fonts
717:Sem Hartz,
668:: 239–242.
279:true italic
144:punchcutter
43:typographer
2093:Categories
2019:Gill Facia
2007:Carré Noir
1746:Haarlemmer
1589:Leysbourne
1543:Goudy Sans
1491:Bernard MT
1447:Poliphilus
1284:Dutch Type
1247:(In Dutch)
1233:(In Dutch)
984:Dutch type
963:. Monotype
531:. Oxford:
361:References
314:Haarlemmer
239:Pittsburgh
1959:Footlight
1883:Traveller
1683:Gill Kayo
1668:Gwendolin
1637:Colmcille
1551:(c. 1929)
1515:Gill Sans
1471:Engravers
1356:Old Style
1338:typefaces
1044:. ARTypes
693:Quaerendo
666:Quaerendo
643:"Juliana"
492:Quaerendo
465:Quaerendo
410:Quaerendo
383:Quaerendo
125:Sem Hartz
2033:Neo Sans
1969:Cantoria
1864:Fontana
1859:Octavian
1788:Spectrum
1723:Ehrhardt
1696:(1935-9)
1694:Albertus
1657:Fontana
1632:Rockwell
1601:Falstaff
1537:Deepdene
1506:Perpetua
1463:Fournier
1435:Garamond
1423:Garamont
1385:Veronese
1336:Monotype
1245:, 2022.
527:(1956).
438:(1996).
348:See also
334:Spectrum
219:Monotype
116:Monotype
55:Monotype
1964:Calisto
1934:Calvert
1890:Cartier
1853:Univers
1793:Angelus
1732:Pegasus
1688:Romulus
1677:Emerson
1643:Menhart
1623:Walbaum
1592:Placard
1566:Lutetia
1525:Arrighi
1521:Centaur
1501:Lutetia
1400:Plantin
1394:Imprint
1158:MyFonts
1128:MyFonts
1098:MyFonts
1068:MyFonts
1042:MyFonts
1012:MyFonts
961:MyFonts
811:MyFonts
320:Sheldon
275:oblique
271:Romulus
254:Romanée
217:, 1928
211:Lutetia
79:Leipzig
39:Haarlem
2067:(2015)
2061:(2013)
2016:Cachet
1988:Amasis
1936:(1979)
1909:Barbou
1905:(1967)
1899:(1967)
1879:(1962)
1877:Apollo
1868:(1961)
1861:(1961)
1855:(1961)
1849:(1960)
1829:(1958)
1824:Joanna
1820:(1957)
1802:(1956)
1790:(1955)
1784:(1951)
1734:(1937)
1725:(1937)
1714:(1937)
1709:Joanna
1705:(1937)
1700:Bulmer
1690:(1936)
1679:(1936)
1673:(1935)
1661:(1935)
1634:(1934)
1625:(1933)
1613:(1932)
1604:Inflex
1598:Script
1586:(1931)
1580:(1930)
1574:(1930)
1568:(1930)
1545:(1929)
1539:(1929)
1533:(1929)
1527:(1929)
1508:(1928)
1494:Gallia
1484:Barbou
1480:(1926)
1465:(1925)
1453:(1923)
1443:(1923)
1437:(1922)
1431:(1921)
1429:Bodoni
1425:(1921)
1408:(1915)
1402:(1913)
1396:(1912)
1358:(1900)
1351:Modern
990:
917:
892:
791:
719:Essays
603:
576:
446:
213:(1925
202:These
2046:2010s
2037:Slate
2027:2000s
2003:Curlz
1978:1990s
1954:Arial
1944:1980s
1921:1970s
1897:Sabon
1872:Forte
1840:1960s
1818:Dante
1805:Swing
1772:1950s
1758:1940s
1640:Runic
1559:1930s
1549:Solus
1531:Bembo
1523:with
1451:Blado
1416:1920s
1378:1910s
1344:1900s
937:. DTL
159:Scala
71:Gouda
35:Gouda
1595:Kino
1584:Bell
1449:and
1170:2015
1140:2015
1110:2015
1080:2015
1050:2015
1024:2015
988:ISBN
969:2015
943:2015
915:ISBN
890:ISBN
871:2015
844:2015
819:2015
789:ISBN
771:2015
741:2015
651:2015
629:2014
601:ISBN
574:ISBN
444:ISBN
2059:SST
701:doi
691:".
670:doi
500:doi
473:doi
418:doi
391:doi
237:in
138:'s
2095::
1220:,
1188:,
1156:.
1126:.
1096:.
1066:.
1040:.
1010:.
959:.
861:.
835:.
809:.
757:.
697:10
695:.
541:^
512:^
496:24
494:.
467:.
414:25
412:.
387:25
385:.
182:.
131:.
1328:e
1321:t
1314:v
1194:.
1172:.
1142:.
1112:.
1082:.
1052:.
1026:.
996:.
971:.
945:.
923:.
898:.
873:.
846:.
821:.
773:.
743:.
707:.
703::
676:.
672::
653:.
631:.
609:.
582:.
506:.
502::
479:.
475::
469:4
452:.
424:.
420::
397:.
393::
330:.
281:)
221:)
198:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
