Frank Hinman Pierpont

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Frank Hinman Pierpont
Born1860
New Haven, Connecticut
Died1937
London, England
NationalityAmerican
Known fortypography
Notable workPlantin

Frank Hinman Pierpont (b. 1860, New Haven, Connecticut – d. 1937, London, England) was an American engineer and typeface designer.[1] He worked primarily in England for the Monotype Corporation of Britain.[2][3][4]

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 supervised the reproduction of revivals of classic type designs and new designs such as Times New Roman.[5][6] He reportedly had doubts about the artistic ambitions of Monotype's artistic adviser Stanley Morison and publicity manager Beatrice Warde, complaining in one 1920s memo of the Gill Sans typeface, then in development, that "I see nothing in this design to recommend it and much that is objectionable."[7][8][9]

Typefaces designed by F. H. Pierpont

All faces cut by British Monotype:

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.
  1. ^ Slinn, Judy; Carter, Sebastian; Southall, Richard. History of the Monotype Corporation. pp. 202–3 etc.
  2. ^ 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.
  3. ^ Rhatigan, Dan. "Time and Times again". Monotype. Retrieved 28 July 2015.
  4. ^ 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.
  5. ^ 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..
  6. ^ Dreyfus, John (1973). "The Evolution of Times New Roman". The Penrose Annual. 66: 165–174. [In developing Times New Roman, Stanley] morison was fortunate in being able to produce a new type for the newspaper at great speed and with a high degree of technical excellance...an exceptionally able team had been built up by Frank Hinman Pierpont, an American martinet of wide experience.
  7. ^ Mosley, James. "Eric Gill and the Cockerel Press". Upper & Lower Case. International Typeface Corporation. Archived from the original on 29 July 2012. Retrieved 7 October 2016. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  8. ^ Mosley, James. "Eric Gill's Perpetua Type". Fine Print.
  9. ^ Mosley, James (1989). "Eric Gill's Perpetua Type". In Ginger, E.M. (ed.). Fine Print on Type. Lund Humphries. pp. 54–58.
  10. ^ Morison, Stanley (7 June 1973). A Tally of Types. CUP Archive. pp. 22–24. ISBN 978-0-521-09786-4.

External links

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