Codex 3 begins with a colorful review by James Clough of the HWT Chromatic Set, the first group of typefaces in the Hamilton Wood Type collection that P22 is digitizing. Next up, Frans Janssen takes a look at the famous 1768 Enschedé type specimen; then an in-depth interview of type designer Freda Sack. Canadian type designer Nick Shinn writes about the hidden history of type in the 20th century, while Greg D’Onofrio and Patricia Belen provide a fascinating & detailed look at Lester Beall’s pioneering corporate identity manual for Connecticut General. Alexander Tochilovsky and Emily Roz follow with a profile of the Herb Lubalin Study Center of Design and Typography at Cooper Union. This is supplemented by a beautiful foldout of Gastrotypographicalassemblage designed by Lou Dorfsman and Herb Lubalin for CBS. Plus a glorious glimpse of the rich architectural and monumental lettering tradition at Yale University, and much more.
Issue 4 of Codex, guest edited by Sumner Stone, is a prismatic look at the classical Roman capital as it has influenced artists, artisans and designers over two millennia. The groundbreaking work of Father Edward M. Catich in changing our understanding of the methods used to make the Trajan inscription and similar letters is outlined by Paul Shaw while the story of his commission for Reed College is told by Greg MacNaughton. James Mosley summarizes the history of the inscriptions on the former Pescheria in Verona, one example of the Renaissance rediscovery of the Imperial Roman capital. Another instance, the inscription on the 1473 tomb of Niccolò Forteguerri, is reproduced as a rubbing by Garrett Boge. Ewan Clayton describes the development of Eric Gill’s alternative to the Trajan letter and its impact on subsequent lettering in England. Martin Majoor recounts Jan van Krimpen’s long love affair with the classical Roman capital in typefaces, book jackets and postage stamps. On this side of the Atlantic Ocean, Steve Matteson looks at Frederic W. Goudy’s epigraphic typefaces. Bringing typographic history closer to our time, Sumner Stone, Matthew Carter, Jonathan Hoefler, Julian Waters and Lance Hidy tell the stories behind Adobe Trajan, Mantinia, Requiem, Waters Titling and Penumbra, respectively. A quintet of recent typefaces with roots in Trajanic letters is the subject of Paul Shaw’s in-depth type review.