Frank Hinman Pierpont: Difference between revisions
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'''Frank Hinman Pierpont''' (b. 1860, [[New Haven, Connecticut]] – d. 1937, [[London, England]]) was an American engineer and [[type designer|typeface designer]] who worked primarily in England for the [[Monotype Imaging|Monotype Corporation]] of Britain.<ref name="Review: A Tally of Types">{{cite journal|last1=Mosley|first1=James|author-link=James Mosley|title=Review: A Tally of Types|journal=Journal of the Printing Historical Society|date=2001|volume=3, new series|pages=63–67 |
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|quote=That it was Pierpont himself who was central to this drive for quality is made abundantly clear by the abrupt changes that are seen after his retirement in 1937. All the types produced during the brief period before the Second World War, although they naturally have many fine features, are more or less flawed. Monotype [[Joanna MT|Joanna]] is crudely drawn by comparison with the original type…Ehrhardt is also crudely drawn compared with its predecessors, and its incongruous figures - which are quite wrong for its place and period - were adapted from those of [[Imprint MT|Imprint]]. Similarly, the figures for Van Dijck are those of [[Bembo]] (which in their turn seem to be derived from [[Plantin (typeface)|Plantin]]) and their failure to match the delicate serif treatment of the type itself is painfully apparent.|url=https://books.google.com/books?id=PUPhAAAAMAAJ}}</ref><ref name="Time and Times again">{{cite web|last1=Rhatigan|first1=Dan|title=Time and Times again|url=http://ultrasparky.org/archives/2011/09/time_and_times_.html|publisher=Monotype|accessdate=28 July 2015}}</ref><ref name="Matthew Carter">{{cite book|last1=Mosley|first1=James|chapter=Reviving the Classics: Matthew Carter and the Interpretation of Historical Models|editor1-last=Mosley|editor1-first=James|editor2-last=Re|editor2-first=Margaret|editor3-last=Drucker|editor3-first=Johanna|editor4-last=Carter|editor4-first=Matthew|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural Press|isbn=9781568984278|pages=31–34|url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA32}}</ref> |
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After training as a mechanic in [[Hartford, Connecticut]], Pierpont began employment in 1886 with a patent office where he worked on a typesetting machine. Leaving for Europe in 1894, by 1896 he became a director of Typograph Setzmachinen-Fabrik, a German manufacturer of typesetting machines. |
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Beginning in 1899 and continuing until 1936, a year before his death, Pierpont first helped to establish and then act as factory manager the British branch of [[Lanston Monotype]] in [[Salfords]], [[Surrey]], England. While working for Monotype he developed many type revivals of classic designs.<ref>Friedl, Frederich, Nicholas Ott and Bernard Stein. ''Typography: An Encyclopedic Survey of Type Design and Techniques Through History.'' Black Dog & Leventhal: 1998. {{ISBN|1-57912-023-7}}..</ref> |
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All faces cut by [[Monotype Imaging|British Monotype]]. |
All faces cut by [[Monotype Imaging|British Monotype]]. |
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* '''[[Plantin (typeface)|Plantin]]''' (1913), with [[Fritz Steltzer]] |
* '''[[Plantin (typeface)|Plantin]]''' (1913), with [[Fritz Steltzer]] |
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* '''[[Horley Oldstyle (typeface)|Horley Oldstyle ]]''' (1925) |
* '''[[Horley Oldstyle (typeface)|Horley Oldstyle ]]''' (1925) |
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* '''[[Monotype Grotesque(typeface)|Monotype Grotesque]]''' (1926), an updating of the [[Berthold Type Foundry]]’s [[Ideal Grotesque(typeface)|Ideal Grotesque]]. |
* '''[[Monotype Grotesque(typeface)|Monotype Grotesque]]''' (1926), an updating of the [[Berthold Type Foundry]]’s [[Ideal Grotesque(typeface)|Ideal Grotesque]]. |
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* '''[[Bembo (typeface)|Bembo]]''' (1929) revival supervised by Pierpont and |
* '''[[Bembo (typeface)|Bembo]]''' (1929) revival supervised by Pierpont, following his previous Poliphilus and Blado designs on the same theme |
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* '''[[Rockwell (typeface)|Rockwell]]''' (1934) |
* '''[[Rockwell (typeface)|Rockwell]]''' (1934) |
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==References== |
==References== |
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*Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. ''The Encyclopedia of Type Faces.'' Blandford Press Lts.: 1953, 1983. {{ISBN|0-7137-1347-X}}. |
*Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. ''The Encyclopedia of Type Faces.'' Blandford Press Lts.: 1953, 1983. {{ISBN|0-7137-1347-X}}. |
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{{Reflist|30em}} |
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==External links== |
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{{DEFAULTSORT:Pierpont, Frank Hinman .}} |
{{DEFAULTSORT:Pierpont, Frank Hinman .}} |
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[[Category:American typographers]] |
[[Category:American typographers]] |
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Revision as of 22:13, 21 February 2018
 | This article needs additional citations for verification. (January 2013) |
Frank Hinman Pierpont | |
|---|---|
| Born | 1860 |
| Died | 1937 |
| Nationality | American |
| Known for | typography |
| Notable work | Plantin |
Frank Hinman Pierpont (b. 1860, New Haven, Connecticut – d. 1937, London, England) was an American engineer and typeface designer who worked primarily in England for the Monotype Corporation of Britain.[1][2][3]
After training as a mechanic in Hartford, Connecticut, Pierpont began employment in 1886 with a patent office where he worked on a typesetting machine. Leaving for Europe in 1894, by 1896 he became a director of Typograph Setzmachinen-Fabrik, a German manufacturer of typesetting machines.
Beginning in 1899 and continuing until 1936, a year before his death, Pierpont first helped to establish and then act as factory manager the British branch of Lanston Monotype in Salfords, Surrey, England. While working for Monotype he developed many type revivals of classic designs.[4]
Typefaces designed by F. H. Pierpont
All faces cut by British Monotype.
- Plantin (1913), with Fritz Steltzer
- Horley Oldstyle (1925)
- Monotype Grotesque (1926), an updating of the Berthold Type Foundry’s Ideal Grotesque.
- Bembo (1929) revival supervised by Pierpont, following his previous Poliphilus and Blado designs on the same theme
- Rockwell (1934)
References
- Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983. ISBN 0-7137-1347-X.
- ^ Mosley, James (2001). "Review: A Tally of Types". Journal of the Printing Historical Society. 3, new series: 63–67.
That it was Pierpont himself who was central to this drive for quality is made abundantly clear by the abrupt changes that are seen after his retirement in 1937. All the types produced during the brief period before the Second World War, although they naturally have many fine features, are more or less flawed. Monotype Joanna is crudely drawn by comparison with the original type…Ehrhardt is also crudely drawn compared with its predecessors, and its incongruous figures - which are quite wrong for its place and period - were adapted from those of Imprint. Similarly, the figures for Van Dijck are those of Bembo (which in their turn seem to be derived from Plantin) and their failure to match the delicate serif treatment of the type itself is painfully apparent.
- ^ Rhatigan, Dan. "Time and Times again". Monotype. Retrieved 28 July 2015.
- ^ Mosley, James (2003). "Reviving the Classics: Matthew Carter and the Interpretation of Historical Models". In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.). Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press. pp. 31–34. ISBN 9781568984278.
- ^ Friedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7..