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Monotype fonts were developed by the Monotype company. This name has been used by three firms. Two of them had their roots in "hot metal" or lead type in the printing industry. They did not adapt when the market changed as computer, offset and photographic systems became dominant. These were:
The latter firm is in a sense the successor to the English Monotype factory. It has the rights to the original designs, and later obtained rights to many more designs from other sources. The remains of the production archive and what is left of the machines are at the Type Museum in London, England. There the original matrices can still be accessed and parts of the old machines ordered. The collection itself is the property of the British Science Museum. The survival of the Type Museum was threatened since the building was no longer owned by the Science Museum, and was in a very poor state of repair, and the new owner intended other uses for the property. The Type Museum was closed and all equipment has been stored at the National Archives.
Hot metal
A Monotype caster
The first two firms mentioned above produced a long list of fonts, which were identified by names and serial numbers. That type design eventually acquired a very good name and the "Monotype" brand was synonymous with high quality and reliability.
In their name much typographic research on historical character designs from the early years of typography has been carried out. Many of the letters were produced as "revivals", including characters in Garamond, Baskerville, Bodoni, Bembo, Caslon and many other typefaces.
The major difference between the two firms is that the American fonts do not match the English fonts. Letters with the same name had in most cases a different designer, and their appearance and implementation differ. The identification numbers do not all correspond.
The matrices of the two firms also differ in terms of depth, the image inside the matrix, implementation, and size. For example, the American matrices are shallower by .01 in (0.25 mm), and consequently the interior of American foundry moulds need to be higher to produce characters with a type height of 0.918 in (23.3 mm). This was one of many measures taken by the two Monotype companies to divide the world market between themselves. For example, the Americans served the Americas and the Canadian markets. The British company, The Monotype Corporation Ltd. in Salfords, had many customers in India, Africa, and Asia. For these countries many non-Latin typefaces were created for printing in Hebrew, Javanese, Sanskrit, Sinhala, Thai, and other languages.
The composition-caster machines of The Monotype Corporation produced ready-to-use composed pages with text consisting of single pieces of type. The machine provided filled lines, justifying them by adding spaces of varying widths. These ending machines were controlled with a paper ribbon. Typing the texts on keyboards was manual work that took much more time than casting. A composition-caster needed the ribbons of at least three separate keyboards. Correction of the final composition was accomplished by simply replacing the moveable type. The lines did not need to be recast, as with Linotype machines.
A Monotype keyboard; the tape reel or ribbon being produced is at the top
These composition-casters could produce type in sizes up to 14 point pica or Didot font width. "Large-composition" customized machines and moulds could provide composition up to 36 points. The matrices are correspondingly larger and there is room for only one alphabet in the die case. For this reason one machine-run could not provide composition in both Roman and italic typeface, so additional hand work was required in such cases.
A Monotype matrix case for large composition
Type for hand-composing was also cast with Monotype machines; all characters up to 36pt, and rules, could be cast on a large-composition machine. Another machine was the "super-caster" or "supra", which could cast single type. After conversion it could also be used to cast any material needed in print shops, including reglettes, ornaments, and similar designs, as well as characters up to 72 points. There were moulds with inserts for sizes 14 to 36 point. For the even larger sizes of 42, 48, 60 and 72 point another type cast was used. The machine had to be reconfigured for each different type requirement.
Unit arrangement
The width of the hot-lead Monotype type is expressed in units of a set. The widest letter in the alphabet, usually the capital "W", was measured in quarter-pica points, a unit being 1⁄18 part of this width.
The unit width is calculated as follows for a 12-set example.
1 pica = 1⁄6 inch
1 pica point = 1⁄12 × 1⁄6 inch = 0.013889 inch
1 unit 1 set = 1⁄18 × 1⁄12 × 1⁄6 = 1⁄1296 inch = 0.000771605 inch
1 unit 12 set = 12⁄1296 = 0.00925926 inch
All character were designed to have widths a whole number of units of the set. 5, 6, 7, 8, 9, 10, up to 18 or even more.
5 units 12 set = 0.046296 inch
6 units 12 set = 0.055555
7 units 12 set = 0.064815
.....
18 units 12 set = 0.1667 inch
English and American manuals use a different size for the pica: the new-pica = 0.1660 inch. On the European mainland all wedges and tables in the manuals are based on the "old" pica = 0.1667 inch and those wedges can be identified by the extra capital E (= English). That gives small differences in the tables in the various manuals. In practice, however, these differences are so small that they make only little difference when cast with a S5-E wedge or a S5 wedge based on the new-pica. All character are designed to have as width a whole number of units of the set.
So, for instance, A=14, B=13, C=14... a=8, b,d,h,k,n,p,q=10, c=8 ... The list with these widths is called the "unit-arrangement" (UA). Different fonts can have the same UA. In some font designs the unit-arrangement can be different for each point size, for example, with the Lutetia (typeface) and some other fonts of Jan van Krimpen. These UAs are essential for the layout of the matrix case, in which the matrices are sorted into rows by the unit widths. The various "unit-arrangements" have been given numbers.
Long and short descenders
The letters g j p q y ij are descenders. In the italic typefaces f and the "long s" are also descenders.
Many of the older fonts were intended mainly for use in newspaper columns. Times New Roman is a good example, but there were many others. The descenders were kept as short as possible in such fonts so that all the text could be set with the same line spacing. However, for many fonts for luxury productions longer variants of the descenders were also available—the lining would usually need to be adjusted to accommodate them when casting.
Letterpress printing
The design of fonts for letterpress printing needs to be adjusted for this technique. The reason is that the type is printed with some force on the paper, pressing the ink on the type out to the edges of the letter. The center of the character is accordingly printed a bit lighter than the edges. This results in what is called a "bead edge". It is further enhanced because not only the surface of the type get inked, but also the bevels around it, which also contributes to the visual effect of the printed typeface, as can be readily seen with a magnifying glass.
The bead edge and bright centre in print suggest a calligraphic typeface. And with letterpress there is a much wider choice of suitable, often more expensive, paper types that can be printed.
Computer adjustments
After the "hot metal" firms ceased production because of the transition from letterpress to offset printing in more and more printing companies, with Lanston Monotype being the first to do so in America, the font designs needed adjustment for computer use. There is a difference compared with the old hot-metal characters since the fixed relationship between the width of the letters in the unit arrangement is often experienced as a disadvantage. Discussion of this problem has long been going on, for example by Jan van Krimpen.
The design of a lead type cannot be copied without some adjustments since the pressure on lead type during printing presses the ink sideways, and the final appearance of the letter on paper is wider than the surface of the lead character. This extra width is not the same at all places around the character. It depends on the paper surface used, the pressure, the type of press, whether cylinder or platten, and many other factors.
Many digital fonts from the early digital age have this characteristic defect. The metal surface was simply copied, the result being that the color of the printed pages is far too light. In offset or other modern printing techniques, the typeface on the plate and on the printed letter now match much more closely. The use of mostly coated papers with offset types also has an effect. During the type design process all this should be taken into account since simple design drawing of the surface of a lead letter without any adjustment for offset or computer printing will not produce a good result.
The alphabetical list below refers primarily to the fonts produced by the English "hot metal" Monotype company. The numbers mentioned below are from the English "specimen-blades", four editions of the booklets "Monotype book of information", and some additional information from the London Type Museum.
In the 1960s many Monotype fonts were discontinued. The "patterns" for the originals from which the punches were created, the punches, and the whole stock of remaining matrices were destroyed. The font has disappeared except for the matrices in the possession of various printers. Sample sheets of these fonts are particularly difficult to find and are lacking in many collections.
A small number of American letter designs are added to the list, designated by "Am" and their number. American matrices differ from those in England. American matrices were 0.001 in (0.025 mm) less deeply engraved. Consequently, the American moulds were higher internally by that amount compared with moulds from the factory in Salfords UK. Consequently, American matrices on an English cast produce a low letter. English matrices on American moulds produce French-height type.
The list of computer letters from Monotype Imaging, Inc. is constantly being modified and can be best consulted on the website of the company.
This font was the last design of Giovanni Mardersteig. Charles Malin, the engraver producing the punches for Mardesteig died in 1955. After this event Mardersteig did not want any more new designs. In his opinion punches made with a pantograph were inferior. The character was later adapted for composition casters by Monotype and released in 1957.
592: Dante Roman/italic
composition matrices: UA.441, 6D-14D
size:
6D at 7pE
7D at 8pE
8D at 9pE
9D at 10pE
10D at 11pE
11D at 12pE
12D at 13pE
13D at 14pE
14D at 16pE
set:
6
7
7.5
8.25
8.75
9.75
10.75
11.5
12.75
line:
M.1200
M.1245
M.1290
M.1322
M.1382
M.1533
display matrices
size:
18D at 20pE
24D at 30pE
36D at 36pE
48D at 60pE
line:
T.1841
T.2462
T.3684
T.4960
682: Dante Semi Bold Roman/italic
composition matrices: UA.504, 6D-14D
size:
6D at 7pE
7D at 8pE
8D at 9pE
9D at 10pE
10D at 11pE
11D at 12pE
12D at 13pE
14D at 16pE
set:
6
7
7.5
8.25
8.75
9.75
10.75
12.75
line:
M.1200
M.1245
M.1290
M.1322
M.1354
M.1533
612: Dante Titling Roman
display matrices
size:
16D at 18pE
20D at 22pE
28D at 30pE
36D at 36pE
line:
T.1677
T.2085
T.2952
T.3764
Deutsch Romisch
298: Deutsch Romisch (cancelled in 1970)
composition matrices: UA.303, 6D-12D
size:
6D at 7pE
8D at 9pE
9D at 10pE
10D at 11pE
12D at 13pE
set:
6.75
8
9
10
12
line:
M.1243
M.1350
M.1480
286: Deutsch Romisch Bold (cancelled in 1967)
composition matrices: UA.304, 8D-10D
size:
8D at 9pE
10D at 11pE
set:
8
10
line:
M.1390
De Vinne
131: De Vinne (cancelled in 1967
composition matrices: UA.400, 8pt
size:
8pt (8D)
12D op 13pE
set:
8
12.25
line:
M.1445
display matrices
size:
14pt
18pt
24pt
30pt
36pt
line:
T.1533
T.1938
T.2640
T.3194
T.3884
_21: De Vinne (see: De Vinne Condensed)
_21: De Vinne Condensed (cancelled in 1967)
composition matrices: UA.2 6.5pt - 12 pt
size:
6pt (6D)
8pt (8D)
10pt (9D)
12pt (12D)
set:
6.5
8
9.25
11.25
line:
M.1230
M.1280
M.1360
M.1435
167: De Vinne Italic (synonym: Bold Italic Series No. 167) (cancelled in 1967)
composition matrices: UA.3 7.5pt - 11 pt
size:
7.5pt (7D)
8pt (8D)
9pt (8D
10pt (9D)
11pt (10D)
set:
8
8
8.75
9.75
10.5
line:
M.1250
M.1250
M.1280
M.1294
M.1320
Devonshire
223: Devonshire Bold (synonym: 223 Heavy Antique (cancelled in 1967)
display matrices
size:
42pt
48pt
line:
T.4576
T.5268
224: Devonshire Bold Condensed (synonym: 224 Condensed Heavy Antique) (cancelled in 1967)
The italic which was designed for this series was found by customers to be much too extreme. Eventually it was decided to design a more modest italic. That was: ' Series 174 '. The extra luxury italic "swash"-capitals continued to be maintained. In old die cases the italic matrices with 156 appearing on them are occasionally to be found, and they are quite popular for present users of Monotype machines.
Design: Russell Maret, a revival of a typeface cut in 1686 by Peter van Walpengen for Bishop John Fell of Oxford. After 50 years this was in 2020 the first design for a font to cast in composition.
Lutetia, this early design of Jan van Krimpen was modified for Monotype. Jan van Krimpen had given his permission to change his design for hand composing of Lettergieterij Amsterdam to edit it for machine composition. Later he had to admit that the result was very good. But he added immediately that "if" he had known this in advance ... he never would have agreed ... to get as close as possible to the original design to be able to stay, it was necessary to make another unit-arrangement for each size. Consequently, it was a very expensive for the printer customers, since each size with another wedge had to be poured. Also on the keyboard keybanks for each size was another requirement, and extra wedges also had to be purchased.
255: Lutetia Roman/italic
composition matrices Unit arrangements different for each size
size:
8D
10D
12D
14D
16D
20D
UA Roman:
334
306
307
308
170
172
UA italic:
334
306
308
308
171
172
set:
7.5
8
10.75
11.75
13.5
16.5
line:
M.1215
M.1276
M.1305
M.1488
M.1488
M.1980
display matrices:
size:
28D
36D
48D
line:
T.2754
T.3554
T.4790
M
Mardersteig
347: Mardersteig
Never produced, only one proof-set was made for Giovanni Mardersteig himself. The matrices were lost.
Matura
496: Matura script
display matrices:
size:
18pt
24pt
30pt
36pt
42pt
48pt
line:
T.1841
T.2458
T.3014
T.3674
T.4316
T.4958
Matura scriptorial Capitals
528: Matura scriptorial Capitals (combines with 496 Matura)
display matrices:
size:
24pt
line:
T.3170
Mediaeval
125: Mediaeval Roman (cancelled in 1965)
134: Mediaeval Roman (cancelled in 1965)
136: Mediaeval Roman (cancelled in 1965)
_88: Mediaeval Modern (see: 88 Modern Mediaeval)
_52: Mediaeval Modern Half-Fat (see: 52 Half-Fat Modern Mediaeval) (synonyms: 52 Schurmann Antiqua Halbfette, Half-Fat Modern Mediaeval) (cancelled in 196?)
_67: Mediaeval Old Style (see: 67 Old Style)
Menhart
397: Menhart Roman/italic
composition matrices: UA.378 = 10D-14
size:
10D at 11pE
14D at 16pE
set:
9.5
13.5
line:
M.1314
M.1596
display matrices:
size:
18D at 20pE
24D at 30pE
line:
T.1841
T.2536
Mercurius Bold Script
583: Mercurius Bold Script
display matrices:
size:
14D at 16pE
18D at 20pE
24D at 30pE
30D at 36pE
36D at 36pE
48D at 60pE
60D at 72pE
72pt
line:
T.1556
T.1985
T.2656
T.3405
T.3974
T.5360
T.6720
T.7540
Missal
336: Missal
393: Missal Roman
448: Missal No. 3
459: Missal No. 4
Modern
__1: Modern No. 1 Roman/italic
1901, after a design of Miller & Richards
composition matrices: UA-1 (6-12pt), UA-1a(14pt),
size:
6pt (6D)
7pt (7D)
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D)
14pt (small face)(14D)
set:
6.75
7
8
8.5
9.25
9.75
11.25
13.5
line:
M.1210
M.1208
M.1237
M.1260
M.1290
M.1310
M.1360
M.1405
_80: Modern No. 2 (cancelled in 1967)
190?, composition matrices: UA-1,
size:
9D (8D)
10pt (9D)
11pt (10D)
12pt (12D)
set:
8.75
9.25
10
11.25
line:
M.1257
M.1290
M.1310
M.1369
189: Modern No. 3 Roman/italic
190?, composition matrices: UA-1,
size:
6D
7D at 8pt
8pt (8D)
9pt (9D)
10pt (9D)
11pt (10D)
set:
7
8
8.5
9.25
9.75
11.25
line:
M.1208
M.1237
M.1260
M.1290
M.1310
M.1360
__6: Modern No. 4 (cancelled in 1967) (synonym: Ionic)
190?, composition matrices: UA-1,
size:
8pt (8D)
10pt (9D)
set:
8
9.25
line:
M.1240
M.1290
_95: Modern No. 5 Roman/italic (cancelled in 1967)
composition matrices: UA-1 = 11pt
size:
11pt (10D)
set:
10.25
line:
M.1332
250: Modern No. 6 Roman (synonym: 250 Modern Condensed no.5)
composition matrices: UA.92 = 6.5pt UA=418 = 7D
size:
6.5pt (6D)
7D op 8pE
set:
6.5
7.5
line:
M.1230
M.1267
422: Modern No. 7 Roman/italic (cancelled in 1965)
composition matrices: UA.376 = 12 pt
size:
12pt (12D)
set:
13
line:
M.1380
471: Modern No. 8 Roman (cancelled in 1967)
composition matrices: UA.1 8D-10D
size:
8D at 9pE
9D at 10pE
10D at 11pE
set:
9
9.5
10.5
line:
M.1310
M.1365
M.1380
183: Modern Roman (synonym: 183 Modern no. 6) (cancelled in 1967)
display matrices,
size:
18pt
line:
T.1948
211: Modern Roman (see: 211 Century no.1)
257: Modern (synonym: 257 Modern Wide)
composition matrices: UA.1
size:
10pt (9D)
11pt (10D)
set:
10.5
11.25
line:
M.1294
M.1310
444: Modern (cancelled in 1936)
570: Modern Bold Roman, combines with: Modern Series No. 7
composition matrices: UA.2,
size:
6pt (6D)
7pt (7D)
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (11D)
set:
7
7.75
8.5
9.25
9.75
10.5
12
line:
M.1235
M.1210
M.1235
M.1260
M.1200
M.1310
M.1360
_54: Modern Bold Italic italic (synonym: 54 Italic-Display)
composition matrices: UA.3 = 6-12pt
size:
6pt (6D)
6.5pt (6D)
7D
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D)
set:
6.75
7.75
8.5
8.75
9.5
10
10.75
12.5
line:
M.1202
M.1216
M.1238
M.1235
M.1257
M.1391
M.1315
M.1363
display matrices:
size:
14pt (14D)
18pt (18D)
line:
T.1395
T.1810
263: Modern Cancellation Fount Roman (see: 263 Modern Extended 17)
_13: Modern Condensed No. 1 Roman/italic
composition matrices UA.1 = 6pt
size:
6pt (6D)
set:
6.5
line:
M.1185
_14: Modern Condensed No. 2 Roman/italic
composition matrices: UA.1 = 7 pt
size:
7pt (7D)
set:
7.25
line:
M.1220
_39: Modern Condensed No. 3 Roman/italic
composition matrices: UA.1,
size:
6.5pt (6D)
7.5pt (7D)
9pt (8D)
10pt (9D)
11pt (10D)
13pt (12D)
set:
6.5
7.5
8
8.75
9.5
11.25
line:
M.1225
M.1250
M.1260
M.1290
M.1320
M.1390
_79: Modern Condensed No. 4 Roman/italic (cancelled in 1965)
composition matrices: UA.1 = 11pt
size:
11pt (10D)
set:
8.75
line:
M.1375
250: Modern Condensed No. 5 Roman
composition matrices: UA.92 = 6.5pt, UA.418 = 7D
size:
6.5pt (6D)
7D op 8pE
set:
6.5
7.5
line:
M.1230
M.1267
__7: Modern Extended No. 1 Roman/italic,
1902, some bit wider version of Modern no.1
composition matrices: UA.1 = 6pt-12pt
size:
6pt (6D)
7pt (7D)
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D)
set:
7
7.75
8.5
9.25
9.75
10.5
12
line:
M.1235
M.1210
M.1235
M.1260
M.1290
M.1310
M.1360
_77: Modern Extended No. 2 Roman/italic (cancelled in 1967)
composition matrices, UA1 = 9pt-11pt
size:
9pt (8D)
11pt (10D)
set:
9.5
10.5
line:
M.1290
M.1375
447: Modern Extended No. 3 (cancelled in 1965)
composition matrices, UA1 = 8D-9D
size:
8D op 9pE
9D op 10pE
set:
8.75
9.5
line:
M.1341
M.1375
237: Modern French
247: Modern French (cancelled in 1965)
_88: Modern Mediaeval (cancelled in 1964)
_52: Modern Mediaeval (Half-Fat) (see: 52 Half-Fat Modern Mediaeval) (synonyms: 52 Schurmann Antiqua Halbfette, Half-Fat Modern Mediaeval) (cancelled in 196?)
500: Modern Timetable (cancelled in 1967)
179: Modern Titling Roman/italic (synonyms: 179 Titling 179, Titling Italic)
composition matrices: UA.1 = UA.8-12pt
size:
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D
set:
8.75
10.5
14.75
19.5
line:
M.1341
M.1455
M.1642
M.1755
_16: Modern Wide No. 1 Roman/italic
composition matrices: UA.1 = 5pt
size:
5pt (5D)
set:
6.5
line:
M.1240
_18: Modern Wide No. 2 Roman/italic (synonym: Modern Wide)
composition matrices: UA.1 = 6pt
size:
6pt (6D)
set:
7.75
line:
M.1245
_25: Modern Wide No. 3 Roman/italic (synonym: Modern Wide, also referred to as: Romano)
composition matrices UA.2 = 6pt - 12pt
size:
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D)
set:
9.25
10.25
11
12.5
line:
M.1260
M.1300
M.1318
M.1360
_26: Modern Wide No. 4 Roman/italic (synonym: Modern Wide)
composition matrices: UA.1 = 4.5pt-5pt
size:
4.5pt op 5pE (5D)
5pt (5D)
set:
5.5
5.5
line:
M.1173
M.1173
_30: Modern Wide No. 5 Roman/italic (synonym: Modern Wide)
composition matrices: UA.1 = 7pt-8pt
size:
7pt (7D)
8pt (8D)
set:
8.25
9.25
line:
M.1240
M.1270
_75: Modern Wide No. 6 (synonym: 75 Modern Wide) (cancelled in 1967)
617: New Clarendon Roman/italic combines with: 618 New Clarendon Bold
composition matrices: UA.481 = 6-14pt
size:
6pt (6D)
8pt (8D)
10pt (10D)
12pt (12D)
14pt (14D)
set:
8
9.75
11.75
14
16.5
line:
M.1220
M.1285
M.1318
M.1380
M.1495
display matrices:
size:
14pt
16pt
18pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1395
T.1610
T.1805
T.2433
T.2987
T.3608
T.4231
T.4853
T.6098
T.7308
618: New Clarendon Bold Roman/italic
composition matrices: UA.481 = 6-14pt
size:
6pt (6D)
8pt (8D)
10pt (10D)
12pt (12D)
14pt (14D)
set:
8
9.75
11.75
14
16.5
line:
M.1220
M.1285
M.1318
M.1380
M.1495
display matrices:
size:
14pt
16pt
18pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1395
T.1610
T.1805
T.2433
T.2987
T.3608
T.4231
T.4853
T.6098
T.7308
New Emerald Bible
610: New Emerald Bible
New Face
606: New Face (cancelled in 1964)
607: New Face Bold (cancelled in 1964)
615: New Grotesque (cancelled in 1974) (apart from "A")
616: New Grotesque Bold (cancelled in 1974) (apart from "A")
666: New Grotesque Light (cancelled in 1967) (apart from "A")
News Advertisements
229: News Advertisements (see: Newspaper Small Ads)
Newspaper Small Ads
177: Newspaper Small Ads (cancelled in 1965)
229: Newspaper Small Ads (cancelled in 1965)
Newspaper Smalls
115: Newspaper Smalls Roman (cancelled vóór 1966)
Available matrices: capitals, small capitals and lower case plus double large capitals and numbers.
These four alphabets could be cast in one machine-run, the double capitals overhanging at the bottom, relying on the "high-white" of neighbouring character. These high-blanks were cast from a blank matrix and adapted exactly under the overhanging characters.
composition matrices: UA.30 = 5.5-7pt
size:
5.5pt (6D)
6pt (6D)
7pt (7D)
set:
10
10.25
12.5
163: Newspaper Smalls (cancelled in 1967)
193: Newspaper Smalls (cancelled in 1965)
333: Newspaper Smalls (The Times) (see: Times Newspaper Smalls)
335: Newspaper Smalls (The Times) (see: Times Newspaper Smalls)
O
Octavian
603 : Octavian Roman/italic
Design: about 1960 by Will Carter and David Kindersley. Used the first time in June 1961 for a text taken from the introduction to Stanley Morison's "The Typographic Book", intended for the members of the "Double Crown Club".
composition matrices: UA.485 = 14pt
size:
14pt (14D)
set:
11.75
line:
M.1500
Old English text
456: Old English text frakture typeface
composition matrices: UA.318 = 8-12pt
size:
8pt (8D)
10pt (10D)
12pt (12D)
set:
8.75
10.25
12.25
line:
M.1321
M.1394
M.1470
display matrices:
size:
14pt
18pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.155
T.1991
T.2660
T.3264
T.3984
T.4686
T.5368
T.6750
T.8090
356: Old English Text frakture typeface (cancelled in 1967)
composition matrices: UA.318 = 8-12pt
size:
8pt (8D)
10pt (10D)
12pt (12D)
set:
8.75
10.25
12.25
line:
M.1321
M.1394
M.1470
456: Old English Text Light (see: 456 Old English Text)
Old Face
_43: Old Face (see: _43 Scotch Roman No. 3)
_46: Old Face (see: _46 Scotch Roman No. 1)
137: Old Face (see: 137 Scotch Roman No. 2)
154: Old Face (see: 154 Chiswell Old Face)
240: Old Face (cancelled in 1964)
composition matrices: UA.385 = 9pt
size:
9pt (9D)
set:
9
line:
M.1354
159: Old Face Heavy (see: 159 Old Style Bold No. 2)
287: Plantin Bold (synonym: 287 Plantin Heavy No. 2) (cancelled in 1968)
composition matrices: UA.5 = 6.5pt-7.5pt
size:
6.5pt op 7pE
7.5pt op 8pE
set:
7
8
line:
M.1265
M.1308
236: Plantin Bold Condensed Roman/italic
composition matrices: UA.72 = 6pt-14pt
size:
6pt (6D)
6.5 at 7pE (6D)
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D)
13pt (12D)
14pt (14D)
set:
7
7.5
8.5
9.25
9.5
10.25
11.75
12.5
14
line:
M.1237
M.1252
M.1285
M.1312
M.1332
M.1360
M.1415
M.1442
M.1620
display matrices:
size:
14pt
18pt
22pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1533
T.1948
T.2351
T.2640
T.3194
T.3884
T.4576
T.5268
T.6651
T.7930
289: Plantin Condensed Roman/italic (cancelled in 1967)
composition matrices: UA.4 = 7.5ptt
size:
7.5pt op 8pE (7D)
set:
8
line:
M.1318
194: Plantin Heavy (see: 194 Plantin Bold)
236: Plantin Heavy Condensed (see: 236 Plantin Bold Condensed)
287: Plantin Heavy No. 2 (see: 287 Plantin Bold)
113: Plantin Light Roman/italic
composition matrices: UA.4 = 6pt-12pt
size:
6pt (6D)
7pt (7D)
8pt (8D)
9pt (8D)
10pt (9D)
11pt (10D)
12pt (12D)
12pt op 13pE
didot:
6D
7D
8D
8D
9D
10D
12D
12D long desc.
set:
7
7.75
8.5
9.25
10
10.75
11.75
11.75
line:
M.1237
M.1257
M.1285
.1312
M.1342
M.1370
M.1426
M.1426
large composition matrices:
size:
18pt (18D)
18pt (18D)
24pt (24D)
24pt (24D)
UA.106
UA.128
UA.107
UA.129
Roman
italic
Roman
italic
set:
18
18
24
24
line:
T.1948
T.1948
T.2640
T.2640
display matrices:
size:
14pt
18pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1533
T.1948
T.2640
T.3194
T.3884
T.4576
T.5268
T.6651
T.7930
773: Plantin Light Roman/italic
113: Plantin Light Face (see: 113 Plantin Light)
composition matrices: UA.4 = 10pt-11pt
The two sizes of Series 773 are alternatives for Series 113, with identical set and lining', for use in combination with Series 194 and 663. Other sizes of Series 113 comply with this.
Jan van Krimpen started in 1931 with the design of this typeface, which eventually led to a whole font family. With the permission of the firm Enschede & Sons in Haarlem, "Series 458" was cut in 1936. It was a contemporary font that combined characteristics of many old fonts. The colour is matched to antique characters, but the serifs are almost horizontal and vertical. The font runs quite wide and the color is fairly light. The italic is an experiment: the oblique Roman is of the same width as the Roman.
composition matrices: UA.405 = 8D-14D
size:
8Dpt op 9pE
9D op 10pE
10D op 11pE
12D op 13pE
14D op 16pE
set:
7.75
8.5
9
10.75
12.75
line:
M.1225
M.1245
M.1264
M.1320
M.1478
large composition: UA.406
size:
16D op 18pE
20D op 14pE
set:
16.5
20.5
line:
T.1602
T.1994
display matrices:
size:
24D at 30pE
28D at 30pE
36D at 36pE
48D at 60pE
60D at 72pE
line:
T.2404
T.2812
T.3584
T.4810
T.6030
520: Romulus Bold Roman/italic (synonym: 520 Van Krimpen Bold)
composition matrices: UA.405 = 8D-14D
size:
8Dpt at 9pE
9D at 10pE
10D at 11pE
12D at 13pE
14D at 16pE
set:
7.75
8.5
9
10.75
12.75
line:
M.1225
M.1245
M.1264
M.1320
M.1478
Ronaldson
_10: Ronaldson Roman/italic
composition matrices: UA-1 (6-12pt) (synonym: Ronaldson Old style)
This font was designed by Jan Tschichold. Characters for hand composing can (still) be ordered from the company D. Stempel AG (foundry) in formerly Frankfurt (now Darmstadt); Linotype matrices were available at Linotype GmbH (Berlin and Frankfurt); and Monotype matrices could be ordered from the Monotype Setzmachinen-Fabrik GMbH (Frankfurt and Berlin). This can still be done at the Type Museum in London, because the "patterns" and punches and production archives survived there.
The shape of the letter was identical for all three systems. Hand-composing type could be mixed with Linotype and Monotype composition rules. The letter had a limited success. There was also criticism: the letter suffered from the combined disadvantages of the three systems. For example: the Roman and italic faces are as wide as those on a Linotype matrix when combined. And Jan van Krimpen had objections to what he considered the too rigid unit-system of Monotype.
385: Script Wenceslas (see: 385 Wenceslas Script) (cancelled in 196?)
Shadow French
434: Shadow French (cancelled)
Shakespeare Titling
234: Shakespeare Titling (cancelled in 1967)
display matrices:
size:
36pt
line:
T.4434
Sheldon
552: Sheldon
Solus
276: Solus Roman (cancelled in 1967)
composition matrices: UA.320 = 12pt-14pt
size:
12pt (12D)
14pt (14D)
set:
11
13
line:
M.1310
M.1437
display matrices:
size:
18pt
48pt
line:
T.1841
T.4982
368: Solus Bold Roman (cancelled in 1967)
composition matrices: UA.320 = 12pt-14pt
size:
11pt (10D)
set:
11.5
line:
M.1375
368: Solus Heavy (see: Solus Bold)
Spartan
Imitation of stone inscriptions of chopped capitals: the font contains only capital letters, numbers, and punctuation. Each size has of the capitals four sizes, which can be combined, with the little ones functioning as lower case.
This font designed by Jan van Krimpen was originally intended for printing a Bible at the Spectrum publishing house in Utrecht (Netherlands). The project was cancelled. Nevertheless, the font was rather successful. Therefore, in collaboration with Enschede & Sons it was decided to cut the complete series. The font is open and seems fairly robust. The character produces a fairly compact composition.
composition matrices: UA. 428 = 6D-12D
size:
6D at 7pE
8D at 9pE
10D at 11pE
12D at 13pE
set:
6.25
7.5
8.75
10.25
line:
M.1215
M.1250
M.1297
M.1350
display matrices:
size:
14D at 16pE
16D at 18pE
20D at 24pE
24D at 30pE
28D at 30pE
36D at 36pE
48D at 60pE
60D at 72pE
line:
T.1454
T.1656
T.2060
T.2483
T.2912
T.3714
T.5000
T.6270
Surrey Old Style
196: Surrey Old Style Roman (cancelled in 1967)
display matrices:
size:
14pt
18pt
24pt
30pt
36pt
line:
T.1533
T.1948
T.2640
T.3194
T.3884
Swing Bold
583: Swing Bold script
display matrices:
size:
14pt
18pt
24pt
30pt
36pt
line:
T.1301
T.1668
T.2229
T.2724
T.3324
T
Temple Script
455: Temple Script
composition matrices: UA.386 = 10D-12D
size:
10D at 11pE
12D at 13pE
set:
9.25
11.25
line:
M.1453
M.1549
display matrices:
size:
14D at 16pE
16D at 18pE
20D at 22pE
24D at 30pE
28D at 30pE
36D at 36pE
48D at 60pE
60D at 72pE
72pt
line:
T.1684
T.1916
T.2378
T.2874
T.3362
T.4304
T.5810
T.7280
T.8170
The Times
355: The Times Hever Titling Roman (synonym: 355 Times Hever Titling)
composition matrices: UA.323 = 9pt-12pt
size:
9pt (9D)
10pt (10D)
11pt (11D)
12pt (12D)
set:
9
10
11
12
line:
M.1320
M.1357
M.1391
M.1430
display matrices:
size:
14pt
18pt
24pt
30pt
line:
T.1510
T.1887
T.2502
T.3056
Times
334: Times Bold Roman/italic
to be used in combination with Times New Roman Series 327
composition matrices: Roman = UA.324, italic = UA 325, 5.5pt-14pt
matrices for long-descenders are available in several sizes
size:
5.5pt
6pt
6pt
6D
6.5pt
7pt
7pt
7.5pt
7.5pt
8pt
8pt
9pt
9pt
10pt
10pt
11pt
11pt
12pt
12pt
14pt
op:
5.5pE
6pE
6.5pE
7pE
6.5pE
7pE
7.5pE
7.5pE
8pE
8pE
9pE
9pE
10pE
10pE
11pE
11pE
12pE
12pE
14pE
14pE
didot:
5D
6D
6D
6D
6D
7D)
7D
7D
8D)
8D
9D)
8D
10D
10D
11D
10D
12D
12D
14D
14D
special features
long. desc.
7pt short desc.
long desc.
long desc.
long desc.
long desc.
long desc.
long desc.
long desc.
set:
6.5
6.75
6.75
7.75
7.25
7.75
7.75
8.25
8.25
8.25
8.25
9
9
9.75
9.75
10.25
10.25
12
12
12.75
line:
M.1239
M.1239
M.1239
M.1268
M.1250
M.1268
M.1268
M.1286
M.1286
M.1298
M.1298
M.1325
M.1325
M.1338
M.1338
M.1368
M.1368
M.1420
M.1420
M.1470
display matrices:
size:
14pt
16pt
18pt
20pt
22pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1458
T.1672
T.1873
T.2150
T.2363
T.2640
T.3194
T.3884
T.4576
T.5268
T.6651
T.7930
345: Times Bold No. 2 Roman (see also: 360 Times Bold)
composition matrices: UA.324 = 5pt-6pt
size:
7pt (7D)
9pt (8D)
11pt (10D)
12pt (12D)
set:
7.75
9
10.5
12
line:
M.1268
M.1325
M.1368
M.1420
360: Times Bold Roman
composition matrices: UA.324 = 5pt-6pt
size:
5pt (5D)
6pt (6D)
set:
6.25
6.75
line:
M.1210
M.1239
328: Times Bold Titling No. 2 Roman
composition matrices: UA.324 = 5pt-6pt
size:
8pt (8D)
9pt (8D)
10pt (10D)
11pt (10D)
12pt (12D)
set:
9.25
10.25
10.25
11.5
13
line:
M.1360
M.1382
M.1410
M.1440
M.1500
display matrices:
size:
14pt
18pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1671
T.1948
T.2640
T.3194
T.3884
T.4576
T.5248
T.6651
T.7930
332: Times Bold Titling Roman
display matrices:
size:
18pt
24pt
30pt
36pt
48pt
60pt
72pt
line:
T.1948
T.2640
T.3194
T.3884
T.5248
T.6651
T.7930
639: Times Cosmoli Titling (cancelled in 1966)
339: Times Extended Titling Roman
composition matrices: UA.327 = 7pt-14pt
size:
7pt (7D)
8pt (8D)
9pt (8D)
10pt (10D)
11pt (10D)
12pt (12D)
14pt (14D)
set:
8.5
9.5
10.25
11
11.75
13.25
17
line:
M.1356
M.1360
M.1376
M.1410
M.1440
M.1500
M.1738
display matrices:
size:
14pt
16pt
18pt
24pt
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.1671
T.1921
T.2224
T.2534
T.2918
T.3714
T.4406
T.5008
T.6235
T.7515
569: Times Four-line Mathematics
355: Times Hever Titling (see:355 The Times Hever Titling)
Series 627 consist of the special "long-descender" characters and the normal "non-descender" characters of Series 427
composition matrices: UA.327 = 7pt-14pt
size:
7.5pt (7D)
10pt (10D)
11pt (11D)
12pt (12D)
14pt (14D)
14D op 16pE
set:
7.75
9
10.25
11.25
12.25
13.25
line:
M.1267
M.1328
M.1370
M.1405
M.1438
M.1450
large composition: UA.426, 14pt only Roman
size:
24pt (24D)
set:
21.5
line:
T.2230
display matrices:
size:
20pt
24pt
line:
T.1827
T.2230
474: Times New Roman Heavy Book (destroyed in a bombardment)
727: Times New Roman (Light Caps) Roman
827: Times New Roman (French) Roman/italic (see: Times New Roman 727)
alternative matrices for:
small capitals and Roman capitals C G Q R Ç
italic capitals C Q R and lower case g and k
composition matrices: UA.325 = 6pt-12pt
size:
6pt (6D)
7pt (7D)
8pt (8D)
9pt (9D)
10pt (10D)
11pt (10D)
12pt (12D)
set:
6.75
7.75
8.25
9
9.75
10.5
12
line:
M.1230
M.1268
M.1298
M.1325
M.1338
M.1368
M.1420
Titling
179: Titling (see: 179 Modern Titling)
synonyms: 179 Titling Modern No. 1, 179 Titling Italic
180: Titling (see: 180 Victoria Bold Condensed Titling) (synonym: 180 Victoria Bold Condensed)
181: Titling (see: 181 Victoria Condensed Titling)
182: Titling (see: 182 Victoria Titling)
183: Titling (see: 183 Modern)
209: Titling (see: 209 Caslon Titling)
234: Titling (see: 234 Shakespeare Titling)
440: Titling (cancelled in 1965)
522: Titling (see: 522 Placard Condensed Titling)
332: Titling Bold (The Times) (see: 332 Times Bold Titling)
__H: Titling (Caps) Roman
180: Titling Condensed (see: 180 Victoria Bold Condensed Titling)
339: Titling Extended (The Times) (see: 339 Times Extended Titling)
328: Titling Heavy (The Times) (see: 328 Times Bold Titling)
355: Titling Hever (The Times) (see: 355 Times Hever Titling)
179: Titling Italic (cancelled before 1966) (see: 179 Modern Titling)
synonyms: 179 Titling 179 Modern Titling No. 1
179: Titling Modern No. 1 (see: 179 Modern Titling)
synonyms: 179 Titling, 179 Titling Italic
329: Titling (The Times) (see: 329 Times Titling)
Tonic-Sol-Fa
325; Tonic-Sol-Fa
Traveller
629: Traveller Roman
display matrices:
size:
30pt
36pt
42pt
48pt
60pt
72pt
line:
T.2918
T.3538
T.4161
T.4715
T.5960
T.7100
Treyford
226: Treyford
Trojan
114: Trojan Roman (cancelled in 1967)
composition matrices: UA.81 = 9pt-11pt
size:
9pt (8D)
11pt (10D)
set:
9.5
11.25
line:
M.1306
M.1370
display matrices:
size:
14pt
18pt
24pt
36pt
line:
T.1502
T.1929
T.2576
T.3854
Typewriter
Typewriter is a general style of fonts. All characters are of the same width, or "monospaced"; they are cast with a "flat" wedge. Consequently, all the typewriter font characters are cast with the same die case layout, key banks and wedge. There was more than enough space for all the underlined characters in the die case as well.
Printers used these fonts to print mailings for large companies. The print was made to look like a hand-typed personal letter. The press was covered with previously used, worn paper combined with a thin cloth silk tissue. In this way, the type did not receive equal pressure and ink on the paper. Thus it appeared that the letter was typed by a somewhat inexperienced secretary.
_82: Typewriter No. 1 Roman
composition matrices: UA.28 = 10pt-12pt
Series:
82
100
105
235
301
302
344
size:
10pt (9D)
12pt (11D)
12pt (12D)
12pt(11D)
10pt (10D)
12pt (11D)
12pt (12D)
set:
12
14.5
14.5
13.25
12
14.5
14.5
line:
M.1291
M.1364
M.1550
T.1302
M.1291
M.1364
M.1355
100: Typewriter No. 2 Roman (see: 100 Typewriter 82)
105: Typewriter No. 3 Roman (see: 105 Typewriter 82)
127: Typewriter No. 4 Roman
composition matrices: UA.28 = 8pt-12pt
size:
8pt (8D)
10pt (9D)
12pt (12D)
set:
10
12
14.5
line:
M.1270
M.1296
M.1364
235: Typewriter No. 5 Elite Roman (see: 235 Typewriter 82)
301: Typewriter No. 6 Elite Roman (see: 301 Typewriter 82)
602: Typewriter IBM "Executive" Roman
This font is an exception to the rule: it has character of different widths, "unit values". Therefore, a special wedge was needed to cast it. The keyboard also needed additional equipment: the key bars, a kind of mechanical arrangement to translate the keystrokes on the keyboard into the punches in the ribbon. For the print shop it was a very expensive font to purchase.
Underlined character were cast at 12 pt, with a 2pt wide stripe (Rule R39 2pt)
Designed by Karel Svolinsky, (11 January 1896, Heiligenberg near Olmütz, Mähren - 16 September 1986, Prague) Czech painter, graphic designer and book illustrator. He studied at the school of arts and crafts in Prague. Later, he taught as a Professor at this University. Svolinsky Antiqua (1925), Wenceslas Script(1933) Grotesk(1943)
One incomplete set survives at the BookArtMuseum, Lodz, Poland
Wide Gothic
_97: Wide Gothic Roman (see: 97 Grotesque Bold)
Wide Latin
164: Wide Latin Roman (see: 164 Latin Wide)
Wigan Condensed
273: Wigan Condensed (cancelled in 1965)
display matrices:
size:
18pt
line:
T.1945
Worcester Old Face
123: Worcester Old Face (cancelled in 1965)
Fraktur
_89: Fraktur AntiquaRoman (cancelled voor 1966) (see also Neudeutsche Fraktur)
_98: Alte 'Monotype' Fraktur (cancelled in 1972)
composition matrices: UA. 5F
size:
6D (6.5pt E)
8D (9pt E)
9D (10pt E)
10D (11pt E)
12D (13pt E)
14
set:
6.75
8.25
9.25
10
13
13.5
line:
.1276
.1349
.1396
.1431
.1530
.1533
display matrices:
size:
18
20D
24
24D
30
36
48D
60D
line:
.2011
.2382
.2724
.2880
.3299
.4014
.5820
.7300
449: Alte 'Monotype' Fraktur Halbfette (see: Alte Fraktur Fette)
102: Alte Schwabacher (cancelled in 1972)
_31: Armin Fraktur
_32: Armin Fraktur Fette
_34: Armin Fraktur Halbfette
_37: Bamberger Fraktur (cancelled in 1967)
_49: Bamberger Fraktur Fette (cancelled in 1967)
_48: Bamberger Fraktur Halbfette (cancelled in 1964)
521: Berliner Fraktur (cancelled in 1965)
387: Blücher Fraktur Fette (cancelled in 1967)
116: Breitkopf Fraktur (cancelled in 1972)
367: Breitkopf Fraktur (cancelled in 1972)
256: Breitkopf Fraktur Fette (cancelled in 1972)
413: Breitkopf Fraktur Halbfette
256: Dürer Fraktur
513: Dürer Fraktur Fette (cancelled in 1965)
512: Dürer Fraktur Halbfette (cancelled in 1965)
363: Enge Fraktur Halbfette (cancelled in 1967)
498: Enschedé Fraktur (cancelled in 1967)
296: Erfurter Fraktur (cancelled in 1964)
379: Essener Fraktur Fette (cancelled in 1967)
_38: Fraktur (cancelled in 1964)
_94: Große Moderne Fraktur (cancelled in 1967)
308: Helen Fraktur (cancelled in 1964)
384: Hessen Fraktur (cancelled in 1964)
202: Hessen Fraktur Halbfette (cancelled in 1964)
417: Hessen Fraktur Halbfette (cancelled in 1964)
315: Hutten Fraktur (cancelled in 1964)
423: Jean Paul Fraktur (cancelled in 1967)
_40: Kasseler Fraktur
_41: Kasseler Fraktur Halbfette
_56: Koelner Fraktur
_58: Koelner Fraktur halbfette
118: Mainzer Fraktur
132: Mainzer Fraktur Halbfette
_64: Moderne Fraktur
_66: Moderne Fraktur Fette
_86: Moderne Schwabacher
_93: Moderne Schwabacher Halbfette
_35: Neue Schwabacher
_36: Neue Schwabacher
463: Rundgotisch
186: Schmale Nürnburger Gotisch (cancelled in 1965)
display matrices in 6 sizes
size:
14D
18D
20D
24D
28D
36D
line:
T.1671
T.2054
T.2560
T.3052
T.3524
T.4574
187: Schmalfette Frankfurter Fraktur
display matrices in 7 sizes
size:
14D
16D
20D
24D
28D
36D
48D
line:
T.1671
T.2086
T.2620
T.3102
T.3584
T.4654
T.6282
483: Uhlen Rundgotisch
205: Unger Fraktur
277: Unger Fraktus Halbfette
_28: Wittenberg Fraktur
_29: Wittenberg Fraktur
_83: Wuerzburger Fraktur
Non-Latin-typefaces
Amharic
599: Amharic
composition matrices: 9D-12D
size:
9D
12D
set:
9.5
11.75
display matrices: 14D
624: Amharic
composition matrices: 10D
size:
10D
set:
10
Arabic
409: Arabic (cancelled in 1946. replaced by series 549)
542: Arabic Bold (destroyed in a bombardement)
415: Arabic Display (cancelled in 1950)
549: Arabic Naskh
composition matrices: 8D-18D, for 8D a special mould was needed.
Hudy Slinn, Sebastian Carter, Richard Southill: The History of The Monotype Corporation, Printing Historical Society, London, Vanburg Press Woodstock, 2014, ISBN978-0-900003-15-8
Js. Hermans, ' that's printed... ' but how? , 1961 Intergrafia-series number 17, Edecea Publishing House, Horn
N.N., Specimen book of "Monotype" printing types , The Monotype Corporation LIMITED, 43 Fetter Lane, London EC4, 4 vols
The Monotype Corporation Ltd. specimen-blade 9-61, Albertus 324
The Monotype Corporation Ltd. specimen-blade 9-67, Albertus 481
The Monotype Corporation Ltd. specimen-blade 9-67, Albertus 534
The Monotype Corporation Ltd. specimen-blade 7-56, Albertus 538
The Monotype Corporation Ltd. 12-36
^ The Monotype Corporation Ltd. 2-61
^ The Monotype Corporation Ltd. 7-37
The Monotype Corporation Ltd. 10-39
^ The Monotype Corporation Ltd. 5-72
^ The Monotype Corporation Ltd. 5-38
The Monotype Corporation Ltd. specimen blade 6-38
The Monotype Corporation Ltd. specimen blade series No. 354
The Monotype Corporation Ltd. specimen blade 2-70
The Monotype Corporation Ltd. specimen blade 1-77
The Monotype Corporation Ltd. specimen blade 3-40
The Monotype Corporation Ltd. Series no. 238
The Monotype Corporation Ltd. Series no. 279
^ The Monotype Corporation Ltd. 7-70
^ The Monotype Corporation Ltd. 4-71
^ The Monotype Corporation Ltd. 11-73
The Monotype Corporation Ltd. 9-70
The Monotype Corporation Ltd. 1-51 and 11-51
The Monotype Corporation Ltd. series no.376
The Monotype Corporation Ltd. series no.378
^ The Monotype Corporation Ltd. 10-41
The Monotype Corporation Ltd. series no.381
^ The Monotype Corporation Ltd. 2-70
^ The Monotype Corporation Ltd. 2-73
The Monotype Corporation Ltd. 3-46 and 3-71
The Monotype Corporation Ltd. 8-59
The Monotype Corporation Ltd. 5-51
^ The Monotype Corporation Ltd. 5-76
^ The Monotype Corporation Ltd. 2-65
^ The Monotype Corporation Ltd. 10-76
^ The Monotype Corporation Ltd. 9-50
The Monotype Corporation Ltd. 1-50 and 7-60
The Monotype Corporation Ltd. 9-37 and 11-50
The Monotype Corporation Ltd. 3-40
The Monotype Corporation Ltd. 3-37 and 10-40
The Monotype Corporation Ltd. 2-60, 4-71 and 10-38
^ The Monotype Corporation Ltd. 11-76
^ The Monotype Corporation Ltd. 2-68
The Monotype Corporation Ltd. Series No. 138 Bold Face no.3
