Modernised versions of the Janson designs for hot metal printing were being created by Linotype and Monotype's American branch at the same time. Morison had discussed what he knew of their history with Updike in their extensive correspondence from the 1920s onwards. It began from a recognition that the Janson designs were well-respected by fine printers of the Arts and Crafts period such as Daniel Berkeley Updike, who could print books from them using hand-set type cast from surviving original matrices owned by the Stempel company of Germany. Monotype's development of Ehrhardt took place under the influence of executive and historian of printing Stanley Morison, not long after their successful creation of Times New Roman.
#Dutch old style typeface archive#
Kis's identity as the maker of the typefaces was rediscovered by comparison with type from Hungarian archive sources (including an autobiography) on which his name was identified. They were earlier often called the Janson designs, after the Dutch printer Anton Janson, based in Leipzig, who it was once believed might have created them, and Linotype's revival of the same designs in a less condensed form accordingly is named Janson. Kis's surviving matrices were first acquired by Stempel, and are now held in the collection of the Druckmuseum (Museum of Printing), Darmstadt. This developed the influence of French typefounding such as the typefaces engraved by Claude Garamond with a smooth, even structure and 'e' with a level cross-stroke, by increasing the stroke width, boosting the x-height (height of lower-case letters) and reducing the length of the descenders to achieve a noticeably darker colour on the page. Kis's typefaces were in the tradition of Dutch and German printing developed over the previous century that would later be called the " Dutch taste" ( goût hollandois), a term originating from the writings of Pierre Simon Fournier in the next century. The Ehrhardt type foundry of Leipzig released a surviving specimen sheet of them around 1720. Kis returned to Transylvania around 1689 and may have left matrices (the moulds used to cast type) in Leipzig on his way home. He developed a second career as a punchcutter, an engraver of the punches used as a master for making moulds for metal type, working on commission for printers and governments. This was a period of considerable prosperity for the Netherlands and a time when its styles of printing were very influential across Europe, making it a centre for the creation of new typefaces. Miklós Kis, a Transylvanian Protestant pastor and schoolteacher, became deeply interested in printing after being sent to Amsterdam to help print a Hungarian Protestant translation of the Bible. It defends his somewhat contentious choices of editing and orthography in his Hungarian printing. A book printed by Kis in Claudiopolis (modern name Cluj-Napoca) in 1697, after his return to Transylvania.
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