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Van Krimpen was a leading figure of international reputation in book printing during his lifetime.[4][5] He designed books both in the Netherlands and for the Limited Editions Club of New York, amongst others.[6][7] His work has been described as traditional and classical in style, focusing on simplicity and high quality of book printing.[8][9]
Haarlemmer, a text typeface designed by Van Krimpen in 1938.
Spectrum, a text typeface designed by Van Krimpen between 1941 and 1943.
Van Krimpen's type designs are elegant book typefaces, originally made for manual printing and the Monotype machine. Although a good few have been digitised (Romulus, Haarlemmer, Spectrum), the typefaces are only rarely used in publications. Van Krimpen was opposed to the idea of directly reviving type designs of the past, and his work is influenced by the structure of classical Roman square capitals in the upper case and chancery calligraphy of the Renaissance in italic. His approach of pursuing a personal path in type design was continued by Sem Hartz, his successor at Enschedé, and has been of interest to more recent Dutch designers such as Martin Majoor.[10][11]
An extensive review of van Krimpen's work is type designer Walter Tracy's Letters of Credit, a chapter of which assesses Van Krimpen's entire output. From his perspective as a designer who had worked on types for difficult uses such as newspapers and small-size printing, Tracy felt that van Krimpen's love of classical letterforms made his work sometimes interesting but often impractical for general use: "a person of knowledge, ability, and taste...the empirical attitude and the practical method were not, it seems, Van Krimpen's way...he worked from an inner vision, not from a broad view of practical realities and requirements." Tracy considered Spectrum "crisp and positive" and "the most practical" of Van Krimpen's types.[7] Van Krimpen had reservations about the quality of machine engraving of type punches and most of his designs were cut into metal by Enschedé's house punchcutter P.H. Rädisch, at least in the pilot sizes.[12][13]
Normally a punch-cutter like Rädisch would add quite some personal interpretation on the final result of the font. This was actually the fact with the first trial of the Lutetia-font. But van Krimpen did not accept this at all, he insisted that all punches were recut. Sem Hartz describes this as follows: "The designer, however, insisted on a recutting of the type, and although it certainly is flawless in its final form it has a slightly stilted look which is absent from its first form."[14]
Of special note is the Romulus 'superfamily', consisting of a seriffed font, a sloped roman, a chancery italic (Cancelleresca Bastarda), a sans-serif, and a Greek in a range of weights.[7][6] Such an extensive family would have been a first, comparable to today's Scala family by Majoor. The outbreak of the Second World War disrupted the project before completion. After the war, Van Krimpen was not interested in resuming it. The decision to use a sloped roman rather than a true italic was influenced by the theories of his friend Stanley Morison, who for a time suggested that italics were too disruptive to the flow of text and should be phased out except for decorative printing. Both Van Krimpen and Morison later moved away from the idea.
Foundry Type
Van Krimpen's Cancelleresca Bastarda typeface, in a text printed by Stanbrook Abbey.
Of this font, there was the first trial made by Rädisch, and the punches and matrices of the second version controlled by van Krimpen. There were two sizes of open Capitals. Van Krimpen started to alter 36pt and 48 pt capitals taking some lead away from the surface. Using them as initials in printed texts by Enschedé. Later was decided to make matrices for this variants too.
In the summer of 1929 van Krimpen was visited by Porter Garnett, the owner of the Laboratory Press in Pittsburgh. Garnett was asked to print the Catalogue of the Frick Collection. He wanted to use the Lutetia, but he asked for some changes. This led to a change in the following characters: C E F G L Q e h i j . , : ; ( ) - ` ' [ ]. Van Krimpen was quite pleased with the change. But when Bert Clarke and David Way of Clarke & Way Inc., and The Thistle Press in New York around 1947 offered their version of the font for general use, Van Krimpen rejected the offer. The availability of an alternative version, in his eyes, would only lead to additional confusion.
Van Dijck Roman (1935, Monotype); based on types believed to have been cut by Christoffel van Dijck. Van Krimpen's level of involvement in this project was apparently mostly that of a consultant.[19][20]
Haarlemmer (1938, Monotype); release cancelled due to the war[21][22]
Spectrum (1952 Enschedé, also 1955 Monotype)[24][6]
Some initials designed by van Krimpen for the Curwen Press have also been digitised by ARTypes of Chicago.[25] ARTypes also digitised some sets of van Krimpen initial designs that are no longer on sale.[26][27][28][29]
Van Krimpen was renowned for his perfectionism, and his temper. Monotype's archives preserve a letter to Stanley Morison which says "I do not want to be taken for the man who designed something so ridiculously poor as the sloped Romulus bold" that Monotype had produced without his involvement while Van Krimpen was trapped in the Netherlands during the war.[30] Some of his papers are held by the University of Amsterdam.[31]
Jan van Krimpen married three times. His first marriage was in 1916 with Nini Brunt (1891-1984), the daughter of a The Hague bookseller, whom he divorced in 1929. Van Krimpen's only child was his son Huibrecht, usually known as Huib van Krimpen (1917-2002), himself a typographer and a prolific writer about typography.
See also
A. A. M. Stols, a Dutch publisher for whom van Krimpen did a lot of work
References
Initials designed by Jan van Krimpen
^Kuipers, Reinold (1 January 1995). "J. van Krimpen, the typographer Part One". Quaerendo. 25 (2): 115–135. doi:10.1163/157006995X00062.
^Kuipers, Reinold (1 January 1995). "J. van Krimpen, the typographer". Quaerendo. 25 (3): 192–213. doi:10.1163/157006995X00026.
^Dreyfus, John (1996). The Work of Jan van Krimpen. Washington, D.C.: Hartley and Marks / Lund Humphries. ISBN9780881791129.
^Van Velden, Dora (1 January 1974). "Notes to early work by Jan van Krimpen". Quaerendo. 4 (4): 317–329. doi:10.1163/157006974X00245.
^Lommen, Mathieu (1 January 1994). "Jan van Krimpen and Bruce Rogers: two approaches to traditional typography in a modern perspective1". Quaerendo. 24 (3): 206–218. doi:10.1163/157006994X00171.
^ abcTracy, Walter. Letters of Credit. pp. 101–120.
^Martijn F. Le Coultre; Ellen Lupton; Alston W. Purvis (October 2001). Wendingen - A Journal for the Arts, 1918-1932. Princeton Architectural Press. pp. 19–20. ISBN978-1-56898-276-2.
^Philip B. Meggs; Alston W. Purvis (14 April 2016). Meggs' History of Graphic Design. John Wiley & Sons. pp. 199–202. ISBN978-1-119-13620-0.
^Majoor, Martin. "My type design philosophy". Retrieved 12 September 2014.
^"Juliana". Font Bureau. Retrieved 17 September 2015.
^Ovink, G. Willem (1973). "Review: Jan van Krimpen, A Letter to Philip Hofer". Quaerendo: 239–242. doi:10.1163/157006973X00237.
^Ovink, G. Willem (1 January 1980). "Grandeurs and Miseries of the Punch-Cutter's Craft: a review of A to Z. Een autobiografie van P.H. Rädisch, staal-stempelsnijder". Quaerendo. 10 (2): 158–172. doi:10.1163/157006980X00149.
^Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN0-7137-1347-X, pp. 2408–249
^Impallari, Pablo. "Cancelleresca Bastarda Impallari (open-source revival, in beta)". ArchLinux repository. Impallari Type. Retrieved 17 September 2015.
^Macmillan, Neil (2006). An A-Z of type designers. New Haven: Yale University Press. p. 74. ISBN9780300111514.
^Hoeflake, Netty (1973). A tally of types (postscript on Van Dijck by Hoeflake) (New ed. with additions by several hands ed.). Cambridge: Cambridge University Press. p. 114. ISBN9780521097864.
^"DTL Haarlemmer". DTL. Retrieved 17 September 2015.
^"Haarlemmer MT". MyFonts. Monotype. Retrieved 17 September 2015.
^Middendorp, Jan (2004). Dutch type. Rotterdam: 010 Publishers. p. 62. ISBN9789064504600.
^"Spectrum MT". MyFonts. Retrieved 17 September 2015.
^"Curwen Initials". MyFonts. ARTypes. Retrieved 17 September 2015.
^. MyFonts. ARTypes. Archived from the original on 19 July 2019. Retrieved 17 September 2015.
^. MyFonts. ARTypes. Archived from the original on 19 July 2019. Retrieved 17 September 2015.
^. MyFonts. ARTypes. Archived from the original on 19 July 2019. Retrieved 17 September 2015.
^"Romulus Capitals". MyFonts. ARTypes. Retrieved 17 September 2015.
^van Krimpen, Jan (24 April 2014). "Letter from van Krimpen to Morison". Monotype Archive. Retrieved 17 September 2015.
^"Beschrijving van het archief Jan van Krimpen ca. 1915-1958". Universiteit van Amsterdam. Retrieved 17 September 2015.
Bibliography
John Dreyfus, The Work of Jan van Krimpen. A Record in Honour of his Sixtieth Birthday. With a foreword by Stanley Morison. Haarlem-Utrecht, Enschedé-De Haan, 1952
J. van Krimpen, On Designing and Devising Type. New York, The Typophiles 1957
Jan van Krimpen, A letter to Philip Hofer on certain problems connected with mechanical cutting of punches, a facsimile reproduction with an introduction and commentary by John Dreyfus. Boston, David R. Godine, 1972
R. Bringhurst, The Elements of Typographic Style. Vancouver, Hartley & Marks, 2004.
External links
Media related to Jan van Krimpen at Wikimedia Commons
Klingspor Museum, notes on van Krimpen's career with samples of several designs not digitally available
Dutch Type Library, a company which has digitised several van Krimpen designs
Jan Middendorp, "Dutch Type" (010 Publishers, 2004) (pages 54–64)
Michael Russem, "" (Kat Ran Press, 2015)
(archived download link of open-source font in beta version)
January 26, 2023
krimpen, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, january, 2013, lea. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Jan van Krimpen news newspapers books scholar JSTOR January 2013 Learn how and when to remove this template message This article may be expanded with text translated from the corresponding article in Dutch August 2011 Click show for important translation instructions View a machine translated version of the Dutch article Machine translation like DeepL or Google Translate is a useful starting point for translations but translators must revise errors as necessary and confirm that the translation is accurate rather than simply copy pasting machine translated text into the English Wikipedia Consider adding a topic to this template there are already 950 articles in the main category and specifying topic will aid in categorization Do not translate text that appears unreliable or low quality If possible verify the text with references provided in the foreign language article You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation A model attribution edit summary is Content in this edit is translated from the existing Dutch Wikipedia article at nl Jan van Krimpen see its history for attribution You should also add the template Translated nl Jan van Krimpen to the talk page For more guidance see Wikipedia Translation Jan van Krimpen 12 January 1892 in Gouda 20 October 1958 in Haarlem was a Dutch typographer book designer and type designer He worked for the printing house Koninklijke Joh Enschede 1 2 He also worked with Monotype in England who issued or reissued many of his designs outside the Netherlands 3 Van Krimpen was a leading figure of international reputation in book printing during his lifetime 4 5 He designed books both in the Netherlands and for the Limited Editions Club of New York amongst others 6 7 His work has been described as traditional and classical in style focusing on simplicity and high quality of book printing 8 9 Contents 1 Type designs 2 Foundry Type 3 See also 4 References 4 1 Bibliography 5 External linksType designs Edit Haarlemmer a text typeface designed by Van Krimpen in 1938 Spectrum a text typeface designed by Van Krimpen between 1941 and 1943 Van Krimpen s type designs are elegant book typefaces originally made for manual printing and the Monotype machine Although a good few have been digitised Romulus Haarlemmer Spectrum the typefaces are only rarely used in publications Van Krimpen was opposed to the idea of directly reviving type designs of the past and his work is influenced by the structure of classical Roman square capitals in the upper case and chancery calligraphy of the Renaissance in italic His approach of pursuing a personal path in type design was continued by Sem Hartz his successor at Enschede and has been of interest to more recent Dutch designers such as Martin Majoor 10 11 An extensive review of van Krimpen s work is type designer Walter Tracy s Letters of Credit a chapter of which assesses Van Krimpen s entire output From his perspective as a designer who had worked on types for difficult uses such as newspapers and small size printing Tracy felt that van Krimpen s love of classical letterforms made his work sometimes interesting but often impractical for general use a person of knowledge ability and taste the empirical attitude and the practical method were not it seems Van Krimpen s way he worked from an inner vision not from a broad view of practical realities and requirements Tracy considered Spectrum crisp and positive and the most practical of Van Krimpen s types 7 Van Krimpen had reservations about the quality of machine engraving of type punches and most of his designs were cut into metal by Enschede s house punchcutter P H Radisch at least in the pilot sizes 12 13 Normally a punch cutter like Radisch would add quite some personal interpretation on the final result of the font This was actually the fact with the first trial of the Lutetia font But van Krimpen did not accept this at all he insisted that all punches were recut Sem Hartz describes this as follows The designer however insisted on a recutting of the type and although it certainly is flawless in its final form it has a slightly stilted look which is absent from its first form 14 Of special note is the Romulus superfamily consisting of a seriffed font a sloped roman a chancery italic Cancelleresca Bastarda a sans serif and a Greek in a range of weights 7 6 Such an extensive family would have been a first comparable to today s Scala family by Majoor The outbreak of the Second World War disrupted the project before completion After the war Van Krimpen was not interested in resuming it The decision to use a sloped roman rather than a true italic was influenced by the theories of his friend Stanley Morison who for a time suggested that italics were too disruptive to the flow of text and should be phased out except for decorative printing Both Van Krimpen and Morison later moved away from the idea Foundry Type Edit Van Krimpen s Cancelleresca Bastarda typeface in a text printed by Stanbrook Abbey These foundry types were designed by Jan van Krimpen 15 Lutetia 1925 Enschede Foundry 1928 Monotype 16 Of this font there was the first trial made by Radisch and the punches and matrices of the second version controlled by van Krimpen There were two sizes of open Capitals Van Krimpen started to alter 36pt and 48 pt capitals taking some lead away from the surface Using them as initials in printed texts by Enschede Later was decided to make matrices for this variants too In the summer of 1929 van Krimpen was visited by Porter Garnett the owner of the Laboratory Press in Pittsburgh Garnett was asked to print the Catalogue of the Frick Collection He wanted to use the Lutetia but he asked for some changes This led to a change in the following characters C E F G L Q e h i j Van Krimpen was quite pleased with the change But when Bert Clarke and David Way of Clarke amp Way Inc and The Thistle Press in New York around 1947 offered their version of the font for general use Van Krimpen rejected the offer The availability of an alternative version in his eyes would only lead to additional confusion Romanee 1928 1949 Enschede Open Roman Capitals 1929 Enschede Romulus type family 17 Romulus 1931 Enschede also 1936 Monotype sloped form is an oblique rather than a true italic 6 Cancelleresca Bastarda 1934 Enschede 18 Romulus Sans never released Romulus Greek Van Dijck Roman 1935 Monotype based on types believed to have been cut by Christoffel van Dijck Van Krimpen s level of involvement in this project was apparently mostly that of a consultant 19 20 Haarlemmer 1938 Monotype release cancelled due to the war 21 22 Sheldon 1947 designed for a Bible made by Oxford University Press and named for Archbishop Gilbert Sheldon 23 Spectrum 1952 Enschede also 1955 Monotype 24 6 Some initials designed by van Krimpen for the Curwen Press have also been digitised by ARTypes of Chicago 25 ARTypes also digitised some sets of van Krimpen initial designs that are no longer on sale 26 27 28 29 Van Krimpen was renowned for his perfectionism and his temper Monotype s archives preserve a letter to Stanley Morison which says I do not want to be taken for the man who designed something so ridiculously poor as the sloped Romulus bold that Monotype had produced without his involvement while Van Krimpen was trapped in the Netherlands during the war 30 Some of his papers are held by the University of Amsterdam 31 Jan van Krimpen married three times His first marriage was in 1916 with Nini Brunt 1891 1984 the daughter of a The Hague bookseller whom he divorced in 1929 Van Krimpen s only child was his son Huibrecht usually known as Huib van Krimpen 1917 2002 himself a typographer and a prolific writer about typography See also EditA A M Stols a Dutch publisher for whom van Krimpen did a lot of workReferences Edit Initials designed by Jan van Krimpen Kuipers Reinold 1 January 1995 J van Krimpen the typographer Part One Quaerendo 25 2 115 135 doi 10 1163 157006995X00062 Kuipers Reinold 1 January 1995 J van Krimpen the typographer Quaerendo 25 3 192 213 doi 10 1163 157006995X00026 Dreyfus John 1996 The Work of Jan van Krimpen Washington D C Hartley and Marks Lund Humphries ISBN 9780881791129 Van Velden Dora 1 January 1974 Notes to early work by Jan van Krimpen Quaerendo 4 4 317 329 doi 10 1163 157006974X00245 Lommen Mathieu 1 January 1994 Jan van Krimpen and Bruce Rogers two approaches to traditional typography in a modern perspective1 Quaerendo 24 3 206 218 doi 10 1163 157006994X00171 a b c d Williamson Hugh 1956 Methods of Book Design Oxford Oxford University Press pp 99 105 etc a b c Tracy Walter Letters of Credit pp 101 120 Martijn F Le Coultre Ellen Lupton Alston W Purvis October 2001 Wendingen A Journal for the Arts 1918 1932 Princeton Architectural Press pp 19 20 ISBN 978 1 56898 276 2 Philip B Meggs Alston W Purvis 14 April 2016 Meggs History of Graphic Design John Wiley amp Sons pp 199 202 ISBN 978 1 119 13620 0 Majoor Martin My type design philosophy Retrieved 12 September 2014 Juliana Font Bureau Retrieved 17 September 2015 Ovink G Willem 1973 Review Jan van Krimpen A Letter to Philip Hofer Quaerendo 239 242 doi 10 1163 157006973X00237 Ovink G Willem 1 January 1980 Grandeurs and Miseries of the Punch Cutter s Craft a review of A to Z Een autobiografie van P H Radisch staal stempelsnijder Quaerendo 10 2 158 172 doi 10 1163 157006980X00149 Sem Hartz Essays 1992 Serif Pers Amsterdam edited by Matthieu Lommen pag 33 38 Jaspert W Pincus W Turner Berry and A F Johnson The Encyclopedia of Type Faces Blandford Press Lts 1953 1983 ISBN 0 7137 1347 X pp 2408 249 Unger Ralph RMU Lutetia MyFonts RMU Fonts Retrieved 17 September 2015 DTL Romulus Text Dutch Type Library Retrieved 17 September 2015 Impallari Pablo Cancelleresca Bastarda Impallari open source revival in beta ArchLinux repository Impallari Type Retrieved 17 September 2015 Macmillan Neil 2006 An A Z of type designers New Haven Yale University Press p 74 ISBN 9780300111514 Hoeflake Netty 1973 A tally of types postscript on Van Dijck by Hoeflake New ed with additions by several hands ed Cambridge Cambridge University Press p 114 ISBN 9780521097864 DTL Haarlemmer DTL Retrieved 17 September 2015 Haarlemmer MT MyFonts Monotype Retrieved 17 September 2015 Middendorp Jan 2004 Dutch type Rotterdam 010 Publishers p 62 ISBN 9789064504600 Spectrum MT MyFonts Retrieved 17 September 2015 Curwen Initials MyFonts ARTypes Retrieved 17 September 2015 Open Roman Capitals MyFonts ARTypes Archived from the original on 19 July 2019 Retrieved 17 September 2015 Lutetia Open MyFonts ARTypes Archived from the original on 19 July 2019 Retrieved 17 September 2015 Romulus Open MyFonts ARTypes Archived from the original on 19 July 2019 Retrieved 17 September 2015 Romulus Capitals MyFonts ARTypes Retrieved 17 September 2015 van Krimpen Jan 24 April 2014 Letter from van Krimpen to Morison Monotype Archive Retrieved 17 September 2015 Beschrijving van het archief Jan van Krimpen ca 1915 1958 Universiteit van Amsterdam Retrieved 17 September 2015 Bibliography Edit John Dreyfus The Work of Jan van Krimpen A Record in Honour of his Sixtieth Birthday With a foreword by Stanley Morison Haarlem Utrecht Enschede De Haan 1952 J van Krimpen On Designing and Devising Type New York The Typophiles 1957 Jan van Krimpen A letter to Philip Hofer on certain problems connected with mechanical cutting of punches a facsimile reproduction with an introduction and commentary by John Dreyfus Boston David R Godine 1972 R Bringhurst The Elements of Typographic Style Vancouver Hartley amp Marks 2004 External links Edit Media related to Jan van Krimpen at Wikimedia Commons Klingspor Museum notes on van Krimpen s career with samples of several designs not digitally available Dutch Type Library a company which has digitised several van Krimpen designs Jan Middendorp Dutch Type 010 Publishers 2004 pages 54 64 Michael Russem A Checklist of the 100 Cent Postage Stamps Designed by Jan van Krimpen Kat Ran Press 2015 Cancelleresca Bastarda digitisation by Pablo Impallari archived download link of open source font in beta version Retrieved from https en wikipedia org w index php title Jan van Krimpen amp oldid 1130722493, wikipedia, wiki, book, books, library,
