The page offers images of a scan reproduction of a photo-litho offprint of some Monotype metal-set Fournier (Oliver Bernard’s translations of Rimbaud’s Collected Poems, Penguin, 1965), the same text typeset in digital Fournier (Adobe, designer Carol Twombly), and the same text set in Corundum, a recent typeface by the Joshua Darden studio in Brooklyn USA.
Thanks to the Darden Studio for rescuing this distinguished font for the digital realm.
The first image, below, is a scan of page 218 from Oliver Bernard’s excellent translation of Rimbaud’s Collected Poems (Penguin, 1965). It was originally set by Clays Ltd, Bungay, St Ives, UK, in Monotype Fournier metal. The proofs were photographed and printed photo-litho; this is a scan of that text.
The second, below, is a modern setting of the same text in digital Fournier. Note how anaemic the font appears (relatively speaking!).
The third, below, is the same text set in Corundum, a font cut by Joshua Darden in Brooklyn USA. The font has issues with InDesign, serious issues, as it is not designed to conform with the OpenType font specification, but with a few kludges, it works. Note how the italic is (at last!) the same height as the roman.
The last image, below, is the three texts set in (l to r) Monotype Fournier metal, digital Fournier and digital Corundum. Click on the image to see a larger version.
Now, when are we going to find a fully OpenType compatible font based on Fournier, so that everyone can use it when they send their poetry manuscript to their publisher? Yes, it does exist… Stay tuned…
These 3 posts are about Fournier: 1. Barbou 2. Corundum 3. New Fournier BP