specimen pdf - nonpareil type

NONPAREIL 

TYPE *** 

#An oªering of new 

typefaces for use in a 

variety of ways, from 

books & invitations 

to posters, advertise- 

ments, and more . . .

DAVID CLASSIC roman, italic 

ABCDEFGHIJKLM 

abcdefghijklmnopqrstuvwxyz 

NOPQRSTUVW&XYZ 

E P I G R A M M A T A titling (caps, small caps) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

E M E R S O N roman, italic, small caps, display roman, display italic 

ABCDEFGHIJKLM 


NOPQRSTUVWXYZ 

K E L L Y S A N S roman, italic, bold roman, bold italic (in process) 

ABCDEFGHIJKLM 



R I L K E roman, italic, small caps, display roman, display italic 

ABCDEFGHIJKLM 



2

ABOUT 

NONPAREIL 

TYPE 

Nonpareil type is a small, independent firm oªering a specialized 

collection of fonts. Our first typefaces range from revivals of important 

historical typefaces (Epigrammata), through significant designs (David 

Classic and Emerson) by twentieth century masters, to new fonts (Rilke 

and Kelly Sans) shown here for the first time. 

The first goal of these offerings is to make available new types that are 

unique, and appropriate for an assortment of purposes – from display 

and titling to text setting. Special attention is given to quality designs and 

useful character sets, including appropriate ligatures and ornaments with 

each font. 

Our types have been drawn by designers for designers. We have endeavored 

to keep the cost for these new types affordable. Types are sold as 

Postscript Type 1 fonts, unless otherwise specified. 

(See last page for complete ordering information.) 

www.nonpareiltype.com 

3

oman 

ABCDEFGHIJKLM 


italic 

4 

ABCDEFGHIJKLM 



[:,-!–(1234567890)—?.;] 

@$&/ 


ABCDEFGHIJKLM 


NOPQRSTUVW &XYZ

David Classic 

Ismar David (1910–1996) was one of the foremost graphic artists 

of the twentieth century. Most of David’s work centered on 

his distinctive calligraphy, but he also was well known as an 

illustrator and designer. His seminal David Hebrew typeface is 

arguably the most used font in Israel, and is extensively 

employed around the world wherever Hebrew typography is 

required. His roman fonts were created for specialized type 

companies, and therefore had very limited distribution. Now, 

for the first time in digital form, his Classic typeface with an 

expanded character set is available to a wider public. Available 

in roman and italic. 

5

oman bookweight 

6 



italic bookweight 



small caps 

roman display 




italic display 

ABCDEFGHIJKLM 


NOPQRSTUVWXYZ 

fiº [:,-!–(1234567890)—?.;] ªfl 


abcdefghijklmnopqrstuvwxyz

Emerson 

Joseph Blumenthal (proprietor of the famous Spiral Press in New York) designed 

the Emerson type in the 1930s. Originally cut by hand in metal as a 

foundry type for hand composition under the name “Spiral,” the font was later 

released for machine composition under the name “Emerson” (after the handprinted 

Spiral Press edition of Nature by Ralph Waldo Emerson). For the hot 

type version, an italic and set of small caps were added. 

When originally reviewed in Signature Emerson was praised as being well 

suited to various printing methods; aside from the then-dominant letterpress: 

“The open counters, absence of fine lines and sturdy, though not heavy, serifs 

make it particularly suitable for offset and gravure reproduction.” With that in 

mind it is ironic that Emerson is the only one of the typefaces deemed by 

Monotype to be among the twenty classics that had not been offered in a digital 

version – until now. 

7

titling (caps, small caps) 

abcdefghijklmn 

A.B.C.D.E.F.G.H.I.J.K.L.M 

N.O.P.Q.R.S.T.U.V 

W.X.Y.Z 

8 

ABCDEFGHIJKLM 



[:,”-!–(1234567890)—“?.;] 

@$&•ª º∞° 

opqrstuvwxyz 

∞ 

¬•º ∆º∞•° 

[1•2·3·4•5·6•7·8•9·0]

EPIGRAMMATA 

The origin of the sixteenth-century model for these letters is not 

known for certain. It is possible that the type was originally cut 

by the son of Peter Schoeffer the younger, son of Gutenberg’s 

foreman and partner at the second press in the West, Fust & 

Schoeffer. The font may very well be the most popular titling face 

ever, being in continuous use for well over a century in Europe – 

from Germany and Switzerland (where the type was particularly 

widely accepted), to Italy, France, Spain, England, Holland – just 

about everywhere roman types were employed. Surprisingly, despite 

the enormous fame of this unusual design, no revival has 

been made before now, with Nonpareil Type’s Epigrammata type. 

Capitals, small caps, figures, punctuation, and ornaments only 

(no lower case). 

9

oman bookweight 



italic bookweight 

10 



small caps 

roman display 




italic display 

ABCDEFGHIJKLM 



fi ª [:,-!–(1234567890)—?.;] º fl 

@#%*+=• 


[abcdefghijklmnopqr stuvwxyz

Rilke 

Rilke is an original design by Jerry Kelly in a “transitional” style. 

Baskerville and Bell would be two examples of historical typefaces 

in the transitional vein. While these fonts are among the 

most popular today, and transitional style alphabets are widely 

employed for a large variety of applications –from flyers and advertisements 

through fine book work – there are few modern 

versions in the style. (By contrast, there is a plethora of modern 

renderings of renaissance roman styles, in addition to the perennially 

popular re-drawings of the historical fonts of Garamond, 

Caslon, Bodoni, and others.) In addition to the characteristic 

roman, there is a graceful italic, useful small caps, and a refined 

display version of both the roman and italic. 

11

oman regular 

italic regular 

12 




roman semibold 

italic semibold 

ABCDEFGHIJKLM 



[:,-!–(1234567890)—?.;] 

@#$%*+=£¢ §• 





abcdefghijklmnopqrstuvwxyz

Kelly Sans 

(in process as of Summer 2007) 

Kelly Sans is a humanistic sans serif typeface, in the tradition of Gill Sans 

and Syntax (other styles of sans serif would be geometric sans serif styles – 

like Futura or Kabel – and Swiss sans serif styles – like Helvetica and 

Univers). With Kelly Sans we have endeavored to come ever closer to classic 

proportions and purity of letter design, adjusting the forms and widths 

carefully towards the goal of matching the classical ideal, albeit in a monolined 

letter without serifs. 

The “fit” (spacing between letters) of Kelly Sans is more open than most 

sans serif fonts, which are usually so closely spaced that the characters almost 

appear to melt into each other in smaller sizes. Again, this feature of 

Kelly Sans brings the font closer to a classic roman font. 

The bookweight has been calibrated to match the “color” of a typical 

roman font. The semibold is noticeably heavier, while not being so bold as 

to shout, or lead to excessive distortion of the letterforms. The italics are 

essentially sloped roman forms (with the exception of the “ball-and-stick” a 

and g), again designed the goal of maximum clarity and classical form. 

13

DAVID CLASSIC 

14 

EXAMPLES OF 

Italic calligraphy 

From the Renaissance 

to Modern Times 

THE GEYER GRAPHIC ARTS PRESS 

Nassau · 2003 

David 

EX LIBRIS 

Smith 

Mr. and Mrs. Albert Yardley 

&Mr. and Mrs. Joseph Hayes 

request the honor of your presence 

at the marriage of their children 

JENNIFER & HERBERT 

on Saturday evening, the 

twelfth of May at half past 

eight o’clock 

Helene Country Club 

Washington, Connecticut 

# 

Kindly respond by May 1

A SERMON BY Robert Frost 

SPOKEN ON THE FIRST DAY OF 

THE FEAST OF TABERNACLES AT 

THE ROCKDALE AVENUE TEMPLE 

CINCINNATI · OHIO · THURSDAY 

MORNING · OCTOBER · 10 · 1946 

The 

Joseph Blumenthal 

Collection 

CORNELL 

UNIVERSITY 

LIBRARY 

THE SPIRAL PRESS 

THROUGH FOUR DECADES 

An exhibition of books and 

ephemera, with a commentary 

by Joseph Blumenthal 

The Pierpont Morgan Library 

New York 

15 

EMERSON

EPIGRAMMATA 

16 

∆ THOSE 

WHO SEEK 

FOR GOLD 

DIG UP 

MUCH 

EARTH & 

FIND 

A LITTLE 

XXII 

1996 1986 

H·A·P·P·Y H.A.P.P.Y 

N.E.W Y.E.A.R 

1987 1997 

N·E·W Y·E·A·R 

heraclitus 

xvii–xix 

The many do not take 

heed of such things – 

as those they meet with – 

nor do they mark them 

when they are so taught, 

though they think that 

they do. 

If you do not expect the 

unexpected, you will 

not find it; for it is hard to 

be both sought out and 

difficult. 

W hen 

they are born, 

they wish to live 

and to meet with their 

dooms, or rather to rest, 

and they leave children behind 

them to meet with 

dooms in turn. 

a bookmark from 

the classics 

bookshop

PRINTING, the art of making multiple copies of an 

image, originated in China. Even the system of moveable type, that is to 

say individual pieces (usually of some metal alloy), each with a repeatable 

image of an individual character on its face, was developed in the East – 

in Korea, well before Gutenberg began his work in Europe in the fifteenth 

century. However, Gutenberg did bring a unique genius to combining 

and perfecting several existing processes, such as punch-cutting, 

casting in metal, press and ink manufacture, and others (all of which already 

existed in some form in the mid-fifteenth century), adapting these 

to his purpose, and inventing the novel mechanism of an adjustable 

mold in which one could cast metal pieces at a variable width while 

maintaining the same height and depth. He thereby created the first 

practical method of printing a significant quantity of a given text. The importance 

of Gutenberg’s work to the development of civilization would 

be difficult to overestimate. Through Gutenberg’s process the thoughts 

of mankind can be mechanically duplicated, allowing them to be spread 

far and wide and become permanent. In addition to the overwhelming 

significance of Gutenberg’s invention, the aesthetic level of his work set 

a standard that has never been surpassed. A HISTORY OF PRINTING 

PLEASE JOIN US 

TO CELEBRATE THE PUBLICATION OF 

JOEL PERLMAN: A SCULPTOR’S JOURNEY 

BY PHILIP F. PALMEDO · ABBEVILLE PRESS, 2006 

BOOK SIGNING BY THE AUTHOR AND ARTIST 

SATURDAY AUGUST 26, 2006 

5–7 P.M. 

GLENN HOROWITZ BOOKSELLER, INC. 

87 NEWTOWN LANE 

EAST HAMPTON, NY 

17 

KELLY SANS

RILKE 

18 

GUILD OF BOOK WORKERS 

THE SECOND ELEGYEvery Angel is terror. And yet, 

ah, knowing you, I invoke you, almost deadly 

birds of the soul. Where are the days of Tobias, 

when one of the most radiant of you stood at the simple threshold, 

disguised somewhat for the journey and already no longer awesome 

(Like a youth, to the youth looking out curiously). 

Let the Archangel now, the dangerous one, from behind the stars, 

take a single step down and toward us: our own heart, 

beating on high would beat us down. What are you? 

Early successes, Creation’s favourite ones, 

mountain-chains, ridges reddened by dawns 

of all origin, – pollen of flowering godhead, 

junctions of light, corridors, stairs, thrones, 

spaces of being, shields of bliss, tempests 

The Committee on Public 

of storm-filled, delighted feeling and, suddenly, solitary 

Exhibitions mirrors: invites gathering you their & own out-streamed beauty 

your back guest into to the their opening faces again. of 

Guild of Book Workers’ 

For we, when we feel, evaporate: oh, we 

Centenary Exhibition 

breathe ourselves out and away: from ember to ember, 

yielding us fainter fragrance. Then someone may say to us: 

‘Yes, you are in my blood, the room, the Spring-time 

A retrospective is filling with of you work . . . What by use is that: they cannot hold us, 

we vanish inside and around them. And those who are beautiful, 

notable Guild members, 

oh, who holds them back? Appearance, endlessly, stands up, 

curated in their by Peter face, and Verheyen, goes by. Like dew from the morning grass, 

& an what exhibition is ours rises of contem- from us, like the heat 

porary from work, a dish juried that is bywarmed. 

O smile: where? O upward gaze: 

Karen 

new, 

Hanmer 

warm, vanishing 

& Don Rash. 

wave of the heart–; 

Tuesday, September 19, 

2006, 6:00 to 8:00 pm 

THE GROLIER CLUB 

47 East 60th Street 

New York, NY 10022 

Business Attire 

18 

Tobias. The Book 

of Tobit in the 

Apocrypha (5:4,16) 

tells the story of 

Tobit the Israelite, 

who ordered his 

son Tobias to go 

and recover some 

of his property 

from Media. The 

Archangel 

Raphael, disguised, 

guided the young 

man. ‘So they went 

forth, and the 

young man’s dog 

with them.’ 

Elizabeth 

176 east 70th street nyc 10016 

212-656-0092 

Goodwin

TO ORDER 

E-mail: info@nonpareiltype.com 

Phone: 212-581-0344 

*Types available as of summer 2007: 

Rilke: Roman, Roman Display, Italic, Italic Display, small caps 

Emerson: Roman (book), Roman Display, Italic (book), Italic Display, small caps 

EPIGRAMMATA (TITLING with small caps) 

David Classic: Roman, Italic 

pricing 

Each font is licensed for use on up to two computers. 

Licenses for additional computers are $20 per font per computer. 

Please inquire about special discounts for art departments of 12 computers or more. 

One font (i.e.–Rilke roman / David Classic italic / Epigrammata) $ 49. 

Nonpareil ornaments (1 font) $ 29. 

Complete type families priced as follows: 

Rilke family (5 fonts): roman, italic, small caps, roman display, italic display $199. 

Emerson family (5 fonts): roman, italic, small caps, roman display, italic display $199. 

www.nonpareiltype.com 

Types are sold as Postscript Type 1 fonts, unless otherwise specified. 

Copyright 2007 Nonpareil type. Nonpareil type, David Classic, Epigrammata, 

Kelly Sans and Rilke are trademarks of the Nonpareil Type. 

Unauthorized duplication is a violation of the law 

19

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