J. van Krimpen, the typographer

J. van Krimpen, the typographer REINOLD KUIPERS J. van Krimpen, the typographer Part Two ENSCHEDT The training period was finished, at least as far as it ever can be. The Dutch postal service commissioned lettering from Van Krimpen for two series of postage stamps, for which Van Royen was the PTT official in charge. This brought Van Krimpen in contact with the traditional printer of Dutch postage stamps, Enschede. It was 1923. As a result of the work with Enschede and conversations with a member of the firm, Van Krimpen was given the task of designing a new typeface for the typefoundry of this two-hundred year old printer. This is how Lutetia, whose first drawings already date from that crucial year, came into being in 1925. Van Krimpen proved to be well equipped for the assignment, both intrinsically and at the drawing board. Looking at the models that he drew for the punchcutter, one can hardly imagine that this masterly level, binding individual style with tradition, could be reached so soon after so much influence from others and so much stumbling. As a result of Lutetia's success, Van Krimpen went to work at Enschede, to bring both the printing office and the typefoundry http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Quaerendo Brill

J. van Krimpen, the typographer

Quaerendo , Volume 25 (3): 192 – Jan 1, 1995

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Publisher
Brill
Copyright
© 1995 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0014-9527
eISSN
1570-0690
D.O.I.
10.1163/157006995X00026
Publisher site
See Article on Publisher Site

Abstract

REINOLD KUIPERS J. van Krimpen, the typographer Part Two ENSCHEDT The training period was finished, at least as far as it ever can be. The Dutch postal service commissioned lettering from Van Krimpen for two series of postage stamps, for which Van Royen was the PTT official in charge. This brought Van Krimpen in contact with the traditional printer of Dutch postage stamps, Enschede. It was 1923. As a result of the work with Enschede and conversations with a member of the firm, Van Krimpen was given the task of designing a new typeface for the typefoundry of this two-hundred year old printer. This is how Lutetia, whose first drawings already date from that crucial year, came into being in 1925. Van Krimpen proved to be well equipped for the assignment, both intrinsically and at the drawing board. Looking at the models that he drew for the punchcutter, one can hardly imagine that this masterly level, binding individual style with tradition, could be reached so soon after so much influence from others and so much stumbling. As a result of Lutetia's success, Van Krimpen went to work at Enschede, to bring both the printing office and the typefoundry

Journal

QuaerendoBrill

Published: Jan 1, 1995

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