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The second volume in the Printer’s Type Case series is the culmination of three years of research into the typography of the Civil War era, and features 40 of the most common fonts, ornaments, and borders used between the years 1850 and 1865.
Designed by Jean François Porchez in 2001, Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These characters are found in Vibert’s typefaces. Vibert was the appointed punchcutter of the Didot family during this period. It is the Black, of which sources were surest, and which was the basis for the conception of the family. In the second half of the 19th century, it was normal to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the big French foundries in the 1960s.
Parisine is a workhorse and economical sanserif, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first.