 Bruce has collected the work of Dwaygan since 1972 and has been writing and lecturing about him since 1980. His comprehensive biography, W.A. Dwaygan's A Life in Design, captures the inspiring accomplishments and wit of this amazing artist. He's one of my favorite people in the world. So please say hello to Bruce Cannon. Every face that Dwaygan's and others worked up for Linotype was referred to as an experimental. So one of the interesting misconceptions about this, when I talked in New York I talked about the experimental types that weren't commercially released. Tonight these are the ones that did reach full flower in manufacturing, but all of them began as experimental types. Yesterday was Dwaygan's birthday and I'm pleased to celebrate that every year and always make some kind of a post on social media about it so that everybody knows. And I think it's just terrific that we can remember him in that way. And is there anybody here who doesn't know about Dwaygan's? Okay, great. So Paul Bennett said about him, Dwaygan's was on a plane above most mortals. A great human, a perceptive and distinguished artist and writer, and a warm sympathetic friend. There was order and directness in his manner of work that reflected the logic and simplicity of his thinking. I want to reprise just a few slides from the New York talk to set this up so that you understand where type falls in the arc of his life story. Because there are some things about him that we don't know. For example, many people in the graphic arts world don't realize that he was an accomplished marionette artist. And he wrote plays, designed the sets, engineered the marionettes, designed the costumes, designed the lighting. He didn't act down the strings himself, he always preferred to stay in the audience. But he made perhaps 50 or 60 marionettes and in the world of puppetry, he's famous there. And those people have no idea that he had anything to do with designing types or books. It's kind of amazing. And so this book that we're producing pulls all of these facets of Dwaygan's life together in one volume. He also was a marvelous writer. And one of my favorite parts about this project is that we are reproducing 20 pages of his muscular, vivid, wonderful prose in a letterpress portfolio. And then the regular edition of the book, those sheets are photographed with raking light so that everyone can see his metal types in action on soft paper, mohawk superfine. And it's his writing in the five types that he designed that Murgenthaler produced. Another thing that I didn't know, I spent all this time with Dorothy and made the assumption that they had been together for decades. She was only with him for the last 10 years of his life. And I think she extended his life through her helpfulness in so many ways. And here's another misconception. If you look at this timeline, all of that activity and type design happened at the end in the last third of his life. So what I'm going to be talking about tonight are the blue stripes, the red ones I talked about in New York. It's not up on Vimeo yet, but it should be pretty soon, thanks to Heflern Company that's made available online. And he was continuously active. If you look at the year 1942, you go down to the fourth type there that says Daily Jeff. Look at how much he was working on in that one year of 1942. It's just mind-blowing to think that he had all these plates in the air. So he got out of art school and hung out a shingle as a designer, wanted to make books and types. And for decades, he was unable to design types. This is an alphabet card that he made for Atkinson, Mentzer and Grover, a publisher that supplied books to craft teachers primarily. Here's another one. So he's thinking about this stuff. This is a project for the Grolier Club with a wonderful decorated O from 1911. I don't think I'd want that photoe in my living room, but I love that cap G in grand. So he's cranking out hundreds of these newspaper ads for the local Boston papers. Work for the paper companies, this for Strathmore, this for SD Warren. He loved the educational component of working with Warren to make the printers that were buying Warren's papers better at putting ink on the paper that Warren was supplying, teaching them things. And so then we get to the late 1920s, and Chauncey Griffith on the right, who had various positions at Murgenthaler, but you could say was head of typographic development for much of that time, worked with Dwiggins on a whole series of projects. He and the others there understood that the line of type had come up in the newspaper world and was seen as a kind of rough and ready environment, not so refined as monotype. And for example, an italic F in monotype gets to look like this, and in line of type it has to look like this, because it's duplexed on the same mat that has the Roman lowercase F. So there were limitations, but they knew that if they could sign Dwiggins, he would originate. They wouldn't just be doing revivals. He could originate new designs and line of type could make progress in the book world, and in fact they did. And people like Fred Antholson up in Portland, Maine were using the line of type and winning AIGA 50 book awards and using that machine to do books. So in 1928, first I'll just give you this overview. This is all of the types that he produced for line of type. And so the top row and the first one on the second row were actually produced, and that's what we're going to talk about tonight. The others were brought into form where they could be used to types that hold book, but were never brought into commercial full release. Usually they'd start in 12th point and then fill in all the others later on. And then the caravan ornaments down in the lower right were also in full release. So in 1928 he wrote this book, Lay Out and Advertising, and in that he said, Gothic, in this case meaning sans serif, has little to commended except simplicity, not overly legible and has no grace. Gothic capitals are indispensable, but there are no good Gothic capitals. The type founders would do a service to advertising if they would provide a Gothic of good design. So line of type got in touch with him and said, oh yeah, show us what you have. And they began to talk and very quickly reached an agreement where he would be on annual retainer, get a check every month, and he would do anything that he wanted and they'd make a decision about whether they were going to publish it or not. So what line of type wanted was something that would compete with these sans designs. And when you think about it, this was the time of streamlining, airplanes, fast trains, the super chief, and all this kind of stuff. And they needed to have something that could compete with these European types that had been coming over in the late 20s. And Dwiggan said, they're fine in the capitals and bum in the lower case. Let's see what we can do. So he came up with Metro. Here are some early sketches. I love the little divot in the capital Q. And these are now juxtaposed. That's that same sketch board in the middle. And around the edges I've taken production 12-point Metro black type and put it there so that you can see the differences. The Q is quite substantially changed. The G has a lot of changes. Are the scale of these such that you guys can see them all right in the back of the room? Here's the full alphabet. They made Metro light, which they marketed as a lighter echo for daintier effects. Here's some text set in it, and although it was conceived primarily as an advertising face, it was used for some book work. He designed the black first, then they went to Metro light, and then they put in Metro medium and Metro thin, which I'll show you in a minute. The first book that I know of that was produced with Metro is Rockwell Kent's Wilderness. And I'd always thought of him as visual artist. He's a fabulous writer. And I don't know how many of you know this book, but he went with his son Rocky, who was then I think nine years old, to live on an island off the coast of Alaska one winter, where they have an Ashley stove and they're cutting down green spruce every day and shoving it into the maw of the stove to keep warm in this cabin. It's a wonderful book. So in this case, Metro medium provides a very robust and beautiful harmony with the kind of starkness of Kent's illustrations. Here's a close-up of one of the pages. And a few years later, Peter Bielenson reproduced Oscar Wilde Salome using Metro light, and there's a copy of this at the archive. So the success of Futura eclipsed Metro almost immediately, and everybody said, how come it doesn't look like Futura? And sure enough, if you look down at the bottom, you will see these alternative characters that have a single story A, a pointy M, an N. And these were in distinct change from what Metro had as a more humanist approach to the letter designs, but the market just kept saying, we want Futura, we want Futura. And in the end, Murgenthaler came up with Spartan. They had to produce something that was identical to Futura. So here's another showing of some of the things that they had to develop to try to make Metro palatable to the marketplace. Here's an example of these changes. The E on the left is from Dwaygan's original design. The Metro number two, which came out a couple of years after the first release of Metro, is represented by the two in the middle. And then Metro Nova, which was revived a few years ago by Toshi Omagari, returns to that much more calligraphic E, although it has a little bit of a different shape than Dwaygan's original one from 1929. Here it is used in advertising, provides great contrast. Here are the four members of the family in metal. And Walter Tracy in Letters of Credit said for over 40 years, Metro Black and Metro Light have been used by British newspapers, despite availability of other sans serifs. So even though it fell out of favor in the U.S., it continued in the British newspaper market for decades. And here's the full family of Metro Nova. It's over the years, other metros have existed in the form of D.H. Sons, Gross Point, Examiner, Metro Office, which is quite a regularized, uncorky, kind of I would call stay-pressed version of Metro, Chronicle Metro, Geometric 415. So while he's working on Metro, he's already thinking about text types. He's working on typewriter types for Underwood and Remington Rand, a bunch of other people. Designs a serifless Roman similar to Optima, which he pitches first to continental type founders, then to line a type that goes nowhere. And he's in love with marionettes and making a lot of marionettes. So as soon as Metro has been launched, he says, I want to do a book type. And he, as early as the 1928 season, had made this for what was that period's equivalent of Letraset or the phototype positor. If you couldn't afford to send out to have somebody hand-letter a headline for you, because you couldn't do everything in metal display type, this way you could buy these printouts and cut them out and paste them into position and have a photo engraving made. These are all these alphabets produced by a place called Innis in Boston. And Dwiggins was the art director of that program and also designed this typeface in 1928. So he thought, well, let me pitch Murgenthaler and see if they're interested in doing something. So experimental number 29 looks very much like Dwiggins' Boylston. And at this stage, he was using stencils because he was mad about his stencil artwork that he had been developing in the 20s to make all these geometric patterns. He also used them for typeface production. And this is undated. And so there's no way to tell whether it is intended for the Boylston alphabet for Innis or for the linotype stuff. But this was him using stencils to play with color, shape, spacing, all of that. There are problems with the scale of some of the letters, the O's and the S's are too big, but the shapes are instantly recognizable when you look at that experimental number 29. He also began at this stage as early as 1930 to think about Ferron that he could use with a book type. This was his great love. These are in the Boston Public Library collection. So then by 1931, he's saying to Griff, the linotype, I've come up with a different design for this text type. It might make a new kind of page texture with considerable snap and speed to it. Moreover, I can't see that it derives from anything or looks like any other face. What I hope it does is to combine two things, a calligraphic written quality with a precise and rigid feeling. And you can already see, you can recognize Elektra in this 1931 proof. By 1932, they're already making full-size drawings. This is a four. Can everybody see this pencil drawing? Okay, we don't have a whole lot of contrast with the bright light. Here's a stencil that he cut. This happens to be for a 24-point and a paper template to use in building the strokes. Over the years, he experimented with a lot of different techniques. Sometimes he used these templates. Sometimes he used French curves and straight edge. Sometimes he drew freehand. Here's a proof showing this is the same type, but on the left, it's set solid with narrow space bands. And on the right, it's got wide space bands and is leaded. And it's fascinating to see the difference in texture with what are basically the same letters. So here's the alphabet as the type Elektra was released in 1935. And he said about it, he concocted this story where he's having a conversation with Kobo Daishi, the medieval Japanese monk who was one of the patron saints of lettering, and was actually a real person. And Kobo Daishi says to him as the designer of this new type, electricity, sparks, energy, high-speed steel, metal shavings coming off a lathe, precise, positive, say it with a snap, take your curves and streamline them. Make a line of letters so full of energy that it can't wait to get to the end of the measure. If you don't get your type warm, it will be just a smooth, commonplace, third-rate piece of good machine technique. No use at all for setting down warm human ideas, just a box full of rivets. And later he said the weighted top serifs of the straight letters of the lower case, a thing that occurs when you are making formal letters with a pen writing quickly, and the flat way the curves get away from the straight stems, that's a speed product. What's fascinating to me about Elektra is that it has such an ardent expression of personality, but it's easy to read. Caledonia is much more self-effacing, his type from 1939, much more plain-spoken. Elektra has a great deal of personality, but it doesn't get in the way of your taking in the words. Here's a proof of the italic, and he was very influenced by Stanley Morrison's article in the Florent called Towards an Ideal Italic, advocating for a sloped Roman. So, Linotype had never done this, but they agreed to make Elektra Italic a sloped Roman, and it didn't provide enough contrast. Again, the market was frustrated that here was this type, they loved the Roman, but they didn't like the Italic. And I have to say, I love using this for text in the same way that I love Trump Italic. It isn't as contrasty, intermixed with Roman, but standing alone as a book face, it's gorgeous. And one of Dwingan's fantasy stories called Tirsipella, that's in our letterpress portfolio, is set in the Elektra Italic. So, here is Roman at the top and Italic at the bottom. And the shapes are different, but there just isn't enough contrast. So, here's the cover of the book, which you'll see up in the back. And this is hand lettered. There's no Elektra present on this cover. It's all Dwingan's hand lettering. Here's the title page. And this hand lettering, you can see his comps, development comps for this here at the Boston Public Library. So, he's trying to figure out exactly what he's going to do. And he and William Rose Benet for Saturday review in 1928-29 played tennis back and forth with something. Dwingan's would make a picture, mail it to Benet with no comment, and then Benet would write a poem and send it back and the Saturday review would print this every month. So, this one is called Type Ornament with Landscape Attached. And Benet's response to this is, oh, for the coast of Maine, a cove, a cot, disposed in that salubrious situation, the rocks, the hills, the pines. And yet, it's not a circumstance to linear decoration. Here's another one. So, these were done in black and white in the late 20s. And now, in 1935, they're reprising the same conversation but in color using electra for the poetry. Here, this is Fet in Zanadu. I ruled as Kublai, kingdomed by a dream. Even now, I hear the fanfare, hark the cry of festival. My rainbow penins stream. My wild court gymnasts walk a golden sky. This one is the night's lady, death, and the devil. And if you look at the illustration, you can see an Albrecht Durer chopped. You see that up at the top of the column in the middle of the room? Except when you look at it closely, it's not AD, it's WAD. So, here is some display type with all of his comments festooned. The amount of attention to detail that went back and forth between Hingham, he was more than Hingham. He had very bad diabetes and he never traveled. So, all of this mail went back and forth. And sometimes Paul Bennett or Griff would come up from Brooklyn to see him in Massachusetts. But most of their work was done by mail and telephone. And it's really fun to see him directing them as they're refining these characters that he's developed. Here are electro-Ds which were prepared in large format so that they could be on display in 1937. The AIGA had a show of Dwingan's work to which he didn't even come. He stayed in Hingham and kept working. He was not one for seeking the limelight. But Mabel, his wife, went to represent them. And there was a show that was up for several weeks in New York. And as you can see on the right, there are those electro-Ds. So, here's the problem. How do you create contrast? Well, first they went totally over the top. This italic, so this is 1938. So, three years after the release of Electra. Here's an enlargement of it. He especially likes the cursive lowercase R because he thinks that it makes better spatial sense with other letters. But it's kind of hard to read. And there are these deliciously sensuous sort of samba-filled capital B and all this other stuff. A lot of sinuosity in the changes of stroke weight. That got calmed down to something a year or so later. And again, there are all these characters in development. I wish that I could show you a... This is not going to be big enough for you to see it, but there are still some cursive R's and these wiggly F's that went away by the time it was finally produced. Here's a drawing for an ampersand, just gorgeous. And here are the three types together. So, you have Roman with small caps at the top, italic, sloped Roman in the middle, and cursive at the bottom. And what we're doing in the book is to have the narrative in Roman, anything that needs to be italicized is in the cursive, and then any text extracts that are set off from the regular narrative are set in the italic. And when I say we're using the... Electra type, Jim Parkinson has been working on this for the last couple of years, and I'll show you a picture in a minute about that. So, here's a poem written and printed by Andrew Steves, the great printer and publisher up in Nova Scotia. And he's in the portfolio, letterpress portfolio. He set some falcon matter for us for one of the pages, but this is him using Electra and printing it letterpress. So, here's the problem. Most of the digital revivals are emaciated. Look at the difference between... That's 12 Electra letterpress on the top, printed on uncoated paper, and a typical digital Electra underneath. And so, when we were contemplating doing the book, we thought, well, what should we do? And Rob had the idea to commission a new design of Electra. And so, Jim Parkinson, great local treasure, has been working on this, and his design is going to deliver the robust meat on the bones vigor of the original Electra, which we've not seen for all these decades since metal. And you can see there that kind of springing out of the horizontal arches in the M, H, and N. So, ink squeeze was important to these guys, and I will just suggest to any young type designers who may not have printed in relief, remember that the shop drawings don't represent the final product. It's the printed piece with that ink squeeze. Dwegen says he thinks it's about a thousandth of an inch. Of course, it varies depending on if you're using clay-coated paper or soft, uncoated paper. This font is going to be available as a separate item bundled with the book, and if anybody wants to order the book, Letterform Archive has suggested that tonight you could get the three fonts bundled with the book at no additional cost. So, if you're interested, see Rob afterward or see me. Electra had lots of imitations, especially in the years of piracy. Elante, for instance. Bitstream did Transitional 521. There's Parkinson Electra from Linotype. More recently, Commercial Types, Poets Electra. But this new one from Jim is the real deal. This is just going to be a great type. Caravan. So, he was already experimenting with these shapes in 1930 and wanting to add them to his text types. He began thinking about these abstract florets in the mid-1930s. Here's a pencil drawing for one of them. And then they were finally put into production and the left column and the top two on the right column were put into production as these abstract florets which were originally planned to be accompaniments to Electra. And then later on they were bundled with the caravan decorative units, the borders. The idea behind these is that they use the same aspects of stroke, weight, and shape as the type that they're working with. They're not too delicate anywhere. And so they end up having a very good harmony with the type that they're accompanying. He went on to make this full range of things. He did a wonderful edition of Marco Polo in 1933 and put a lot of decorative borders around the illustrations and that was the basis for his developing all of these. So these were 30 pika-wide slides that you could put into the machine. You'd cast a slug and then zip it in the saw to make however many units, either 12-point or 18-point, you wanted for your border. So all of these were available to printers. Here is his sketch for the book that was announcing the release of these and he's wondering, Chinese blue, maybe too gloomy. Chinese red, this and black would be great. And so in fact, that's what they did. Here's the cover of the final book. And here are some of the color combinations. These could be used individually, but more frequently they were used either as a horizontal rule or a box around things. But you could make these complete patterns too. This gives you an idea of how the slides look when they're cast. Here are some falcons and rabbits that were taken to the stage of being proofed up, experimentally, but never put into production. Here is a real treasure. I found this last year in the files of the Boston Public Library and you probably can't see it very well, but it's a very elaborate pencil drawing and so I brought it into Photoshop and inked it in and this is what it looks like. Isn't that the bee's knees? It was never made. It's just sitting there quietly in the Dwiggins' files. This was brought into digital format by Linotype in four different sets of caravan ornaments in the 1980s. Anybody remember Border Maker? There was a wonderful app that you could use that would help you to swivel things around and it kind of fell by the wayside, but these are all available digitally from Linotype. So as early as 1932, he's working on Electra, but he's also thinking one of his favorite types, he talked about it in 1928, he rated all these typefaces, which ones have utility, which ones are easy to read, have beautiful personality and so on, and one of his favorites was always Scotch-Roman or Scotch-Modern and he wrote to Griff in 1932, I've been looking over Linotype's book faces. One weak point is a modern of the Scotch quality. My hunch is to design a new letter, a little more suave in the curves than Scotch and a little more severe, sharper cut serifs, less bracketing. So he concentrates on Electra for the moment, but once Electra begins to reach release, he's working much more assiduously on his, what would become Caledonia in 1939. First he took Alexander Wilson's Scotch-Roman from the mid-1700s. He said that he tried to liven up the curves by changing the action or color of the face, but he wasn't happy with the results. He wrote, it appears that Scotch is Scotch and doesn't stay Scotch if you sweat the fat off it. The results were pinched and mean and lacked both color and action. So then he thought, well, okay, let's look at some other things. How about John Baskerville? How about Badoni and Dido? He said merely a rehash of the old forms without improvement, so that's top line and middle line. Then, bottom line, he looked at the types that William Martin had cut in the 1790s for William Bullmer, the great English printer. He thought, well, maybe there's something there. So he began to add some weight while retaining what he called the Martin Swing. And here's an H drawing. If you can see it, look at how asymmetrical the lines are, the bottom of that H. They're not sitting flat on the baseline. They change in height from one side to the other. There's a lot of energy there. The drawing on the left represents a transitional drawing where the stroke is straight, almost all the way up to the top. The printed letter on the right, you can see it swells out a little bit more toward the top of the stem, and that represents the final. Here's a progress proof. He's talking about swing and heaviness. He's very worried about the weight being consistent all the way through. Here's a close-up of that. The Fs and Js, if you can see them, still have that kind of a samba wiggle in them. And those end up being more regularized by the time the type was finally released in 1939. Here's the completed alphabet as issued. And he talks about the simple, hard-working feet on the ground quality of scotch. That's what I just love about Caledonia. And it's been used. Caledonia and Electra were the two Grand Slam home runs of Dwingan's work for Lineitech. They're used in thousands of books. And Caledonia just delivers the content faithfully every time. I've used it a lot over the years. I'm glad that it's still in use in textbooks and so forth. Here's the book produced by Murgenthaler to announce the release of the type. Again, no Caledonia in sight. Everything is hand-lettered on the front. This is at the back of the room. Here's the title page. Again, hand-lettered. Here he is working on bold weight of display 24-point. This is 1940, so a year after the release of the first weight. And again, letter press on the left, digital on the right. So if you look at the revivals that are around, Matthew Carter's is by far the best, but he made that for time and that's not available. And the other versions of Caledonia and transitional 511 and so on don't have enough robustness. And I actually think one of the great types that we have available to us now is Kent Lou's Whitman, which was inspired by Dwiggins but has Kent's own touches in it and it's useful and beautiful. I just used it for a book last year and really enjoyed it. Plimpton Press printed most of Knopp's novels. They were located in the town next to where Dwiggins lived and he was friends with them. And this is the spine of their type specimen book that he designed for them in the late 1920s. That's a leather binding with gold foil stamping. I don't know how many of them they produced but I was very pleased to find one of these many years ago. So he was buddies with them. He didn't go and be on press very much but he could go or they could bring something to him if need be. And so many of the Knopp novels needed a little touch on the openings that he developed for typefaces that were exclusively for use at Plimpton Press, usually for Knopp books. And they were drawn in Paninak and then made into photo engravings. So this is 36 point. This with the flowers is 41. This one is 42 point. And then this wonderfully stenciliferous stuff is 48 point. So these were made in little mounted copper photo engravings and dropped into place in the books. Here's an example. This is Mars in the House of Death from 1939. Book about bullfighting. And here's one of the flowered ones that we'll see in a review also 1939. Tragically they were lost. Some of the original drawings are at the Boston Public Library and they're good proofs. Letterform Archive has a great set of proofs but the original engravings, it would be wonderful if they were still around. They're just gone. I talked in New York about Hingham which is a newspaper type because it wasn't very widely distributed and everybody refers to the M formula. I wanted to bring it up again tonight. Linotype had a series of types called the legibility group and Chauncey Griffith was in charge of that. That was his domain. And you can see in the correspondence between the two of them he's saying to Dwiggins, down boy, down boy, I'll take care of this, you just work on the text types. But in the 1930s, Griff did invite him to work on a type that was primarily going to be used in very small sizes and they called it Newsface originally. This was to accompany Ionic and Excelsior and Corona that were their mainstays that they sold all over the world for newspaper work. So Dwiggins wanted to give them something that had a little more style and swing. It was not quite so straightforward. And this is Newsface which later was renamed Hingham in Dwiggins' honor. So here it is in use. The conditions here are rough paper, thin ink. The paper is really absorbent. So how do you get sufficient image contrast for somebody to read it and not have the letters just sort of splotch all over the place? What he came up with for an idea, and I hope you can see this, on the left, drawing number A, has these, the counter is rounded, but the serifs at the bottom are bracketed on one side and a tapered slab on the other. Drawing B, the strokes are thinner, but the terminals are the same at the bottom of the letter. Then you go to C, the strokes are thicker again, but with tapered slabs on both sides. And then D, look at what's happening in the counter. Suddenly there's this almost 90 degree corner inside that counter, and he's gone back to the combo serifs where there's a bracket on one side and taper on the other. In his puppetry work, he had noticed that natural faces tended to not be as expressive, when seen from the audience, as faces that were more angled. And while he was carving these puppets and working on all these elaborate marionette plays, he suddenly had this epiphany. Well, maybe we can try that with letters. One of the misconceptions about the M formula is that it was only intended for seven point, not for larger sizes. So here's a G that again, if you look at the bottom right of the lower counter, you'll see that there's a sharp corner there and there's one in the upper left of the upper counter. So during the war, when he was busy with all these things in the 1940s, all these different typefaces, they wanted to make something that was economical, of set width, and robust. And he was going through Uptyke's printing types and noticed a type that was used by DeSanche, a printer in Madrid in 1774. And he didn't copy it, but he said that DeSanche's letter inspired him in the anatomy of its arches, curves, and junctions. So as they were developing this, this is 1943, they wanted something that would emulate the darker color of Bookman or Century Schoolbook. So this is very narrow in its set, very economical, has great personality. Here are just some of the revisions that they would go through as they worked up these letters. And there are multiple instances of the italic lowercase a changing shape. On this one sheet, there are four different places where it becomes skinnier and then rounder back and forth. Here it is as issued. And it wasn't issued until the 1950s. It was completed in the 1940s, but because of World War II, production was diverted to other needs. So this was only released in 1953 and didn't make it to photo composition. Here's the book. Guess what? No El Dorado on the cover. Shortly after the type was released, he designed a wonderful book called A Crossbowman's Story that was set in El Dorado. And here's the color, that nice dark color of both the Roman and the Italic. There's no historic model for the Italic. It was just Duggan's own imagination. Here's some display type, which they had hoped might be developed, but they never did bring it out in all these different sizes. And David Burlow digitized this for the font bureau in the 1990s, and I was lucky enough to be the first person to design a book using it. And I had this opportunity to make a book. A woman named Helen Sandborn traveled through Guatemala and other parts of Central America. And Edward Mybridge went down there to make photographs for Leland Stanford. They didn't know each other, but we put those two things together in a book for the Museo Pupulvú in Guatemala City. And I got to use, I approached David and said, can I use El Dorado? And he said, absolutely. So this was the first book in 1996 produced with the digital El Dorado. So that's available from font bureau now. Falcon, also conceived in the late 1930s and developed in the 40s, didn't make it into photo composition. So he's thinking about a sharp finish old style. That's his idea here. And his first name for it was Cambridge and then it turned into Falcon. And he is fiddling with it three or four times during the course of its development. This is still 1939. Here's a drawing for low case B, fitting tests. And he says about it, he wants it to be brisk and colorful to set a tale like Treasure Island in. Picturesque, romantic, Northwest wind, blue sky, sea horizon, wide spaces, going somewhere new and thrilling. It's calligraphic, but not so much to be troublesome. The sharp finish will get it away from all of the old styles. More nervous, more snap. So they're playing with the fitting of the letter shapes. And then by 1943, they bring it into enough of a state that they can issue a first booklet. The caps set together look very nice, I think. Here's the texture of the Italic and Roman, some of Duygan's own writing about paper. Here's the alphabet as issued. And he wanted, in this final version, he wanted to reduce stiffness. From using stencils to hand drawing all of the curves, which the office in Brooklyn would then interpret in metal. And Carl Rollins visited Griff at one point and saw the proofs and said that it looked like a face that had always existed, but he could not fix it in his mind, which I think is high praise from Rollins. So they cut it in 12 and later from 8 through 11, but it was special order only, no photo composition. Here's another one of Andrew Steve's printing projects. And we're just so lucky to have him on the team for this book, along with Michael Babcock, who set most of the line-type composition, and Daryl Heider, Sunhill Press, who's printing it. So in closing, I want to read something from the book. Duygan's remarkable output was concentrated into a period of about 25 years and began when he was 49 years old. Imagine what we might have had if he and line-type had found each other when he was still in his 30s. The other aspect of type design that should be made clear to readers not familiar with the process is the enormous complexity of the task. Duygan's close friend Rudolf Rezika, the author of studies in type design, knew this process firsthand as the designer of Fairfield, and other types. Rezika observed, quote, it's been calculated that a popular face of various weights, such as Caledonia, requires as many as 6,850 punches for 34-point sizes. Mechanical aids, such as process cameras and pantographs, therefore have become an inescapable necessity, end quote. Not to mention the countless hours put into the creation of each type of designer and the staff at the line-type drawing office. One can only wonder how it was that Duygan's with the limitations of his brittle diabetes and with the myriad other projects he had going on at the same time was able to give us so much. Thank you.