Typeface Index: B

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Belgian (Bruce Ornamented No. 1515 Revivals)

"Belgian" is the 20th and 21st century name for a face which was originally Ornamented No. 1515 (Bruce). It has been revived in printing services, film, metal, digital, and again in the 21st Century in metal. Unrelated to Belgian Ornamented (Page).

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Belgian Ornamented (Page)

Page. Patented Aug. 9, 1870 (US design patent No. 4280). Unrelated to Belgian, a set of Twentieth Century revivals of Bruce Ornamented No. 1515.

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By Heinrich Jost for Bauer

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Binny Old Style

Lanston Monotype No. 21. Adapted in 1908 from Mackellar, Smiths and Jordan's Old Style No. 77 (ca. 1886), itself based on "a face cut in Scotland about 1863 as a modernization of Caslon." Named for Archibald Binny, co-founder of Binny & Ronaldson, predecessor of MS&J. The related italic is No. 2111, Binny Old Style Italic (not No. 211, which is DeVinne in 5 1/2 point).

See also Lanston No. 321, Binny Old Style Modified and Binney Old Style Modified Italic, and Lanston No. 221, Overgrown No. 80 and and Overgrown No. 80 Italic,

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Binny Old Style Italic

Lanston Monotype No. 2111. See the related roman, Binny Old Style, Lanston No. 21 (not No. 211, which is DeVinne in 5 1/2 point).

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Binny Old Style Modified

Lanston Monotype No. 321. Binny Old Style Modified and Binney Old Style Modified Italic. A variation of No. 21, Binny Old Style cut for Curtis Publishing Company. Listed in 5 1/2 point only in McGrew. McGrew lists it as "321EFG", which would indicate three variations: Old Style Roman ('E'), Old Style Roman Small Caps ('F'), and Old Style Italic ('G').

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Bixler Roman

1965. By Michael Bixler as a private typeface. Matrices engraved in Japan. Shown as part of Paul Hayden Duensing's chapter, "Contemporary Private Types" in David Pankow, ed. American Proprietary Typefaces. [location?]: American Printing History Association, 1998. Bixler confirms a 2007 "Book Artists and Poets" podcast hosted by Steve Miller that the mats for Bixler Roman were Thompson mats engraved in Japan by an engraver recommended by Paul Hayden Duensing.

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Bodoni, His Greek Typefaces

The Greek typeface series of Bodoni is notable because because each body size has its own face. That is, not only do these types not scale linearly over the body sizes in terms of weight and relative form, they do not scale at all in terms of typographical features. This defines a basic principle of series of types over a range of body sizes; it deserves more consideration in new types. This characteristic is also seen in a completely different typeface series, the version of Rustic cut by John S. Carroll.

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A Cheltenham copy in Italy. See entry for Cheltenham Families

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Bookman Families

Note that the Western Type Foundry's Custer Bold was renamed Bookman Bold by BB&S after they acquired that foundry.

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See Tuscan Ornate

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ATF 1895. First shown in The Inland Printer, Vol. 15, No. 6 (September, 1895): four page insert between pp. 632-633.

Similar to A.D. Farmer & Son's Abbey Text (which was first shown on one page earlier in the same number of The Inland Printer) and Inland Type Foundry's St. John (which was first shown in the preceeding number (August, 1895) of The Inland Printer).

Revived ca. 1954 by ATF {McGrew}.

Recast by Skyline Type Foundry in the 21st century in 24 point, from 20th century electroformed matrices.

{McGrew} compares Bradley to Keystone's Washington Text, but I find them to be quite different in their particulars.

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Brandon (Inland)

Cut by Gustave F. Schroeder independently for Inland Type Foundry Dated by Saxe in his edition of Loy to ca. 1898. Shown in the Saxe/Johnston edition of Loy, p. 74.

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