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Monotype Grotesque
Monotype Grotesque
Monotype Grotesque
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Monotype Grotesque
CategorySans-serif
ClassificationGrotesque sans-serif
DesignerFrank Hinman Pierpont
FoundryMonotype Corporation
Date released1926; 100 years ago (1926)[1]
Re-issuing foundriesStephenson Blake, Adobe Type, Linotype

Monotype Grotesque is a family of sans-serif typefaces released by the Monotype Corporation for its hot metal typesetting system. It belongs to the grotesque or industrial genre of early sans-serif designs. Like many early sans-serifs, it forms a sprawling family designed at different times.[2][3]

The family was popular in British trade printing, especially its series 215 and 216 regular and bold weights from around 1926, which have been credited to its American-born engineering manager Frank Hinman Pierpont. Several weights have been digitised.

History and design

[edit]

Monotype Grotesque is a large family of fonts, including very bold, condensed and extended designs, created at different times. Monotype offered a sans-serif capital alphabet as its fourth typeface cut; others were developed later. Like many early sans-serif designs, it is strongly irregular, with designs created at different times that are adapted to suit each width and style at the expense of consistency.[4][5] Monotype executive Dan Rhatigan has commented that it "was never really conceived as a family in the first place, so consistency wasn't a goal."[6]

The inspiration for Monotype Grotesque 215 and 216 has been described as the popular 'Venus' family from the Bauer Type Foundry or 'Ideal', from the H. Berthold AG foundry, which is according to Indra Kupferschmid a Venus clone.[7] Its name descends from William Thorowgood's 1832 face titled "Grotesque."[8][9]

Monotype Grotesque has standard characteristics of the 'industrial' sans-serifs of the period.[10][11] Uppercase characters are of near equal width, the G has a spur in some weights, and the M in the non-condensed weights is square. The 'a' is double-storey. Early fonts have a double-storey 'g' following British tradition and 215 and 216 a single-storey 'g' on the German model.

Monotype Grotesque was somewhat overshadowed from the late 1920s due to the arrival of new sans-serifs such as Kabel, Futura and Gill Sans, also by Monotype. With their cleaner, more constructed and geometric appearance, these designs came to define graphic design of the 1930s, especially in Britain and parts of Europe. (Pierpont was irritated by Monotype advisor Stanley Morison's enthusiasm for marketing Gill Sans, saying that he could "see nothing in this design to recommend it and much that is objectionable."[12]) However, while it never achieved the popularity of Akzidenz Grotesk, it remained a steady seller through the twentieth century. A particular revival of interest took place after the war, and it is often found in avant-garde printing of this period from western and central Europe, such as the journal Typographica designed by Herbert Spencer, since (unlike Akzidenz-Grotesk) it was available from the outset for hot metal machine composition.[8][13][14][15]

Post-war period

[edit]
A comparison of Arial, Helvetica and Monotype Grotesque 215 scaled to equivalent cap height showing the most distinctive characters. Arial copies Helvetica's proportions and stroke width but has design detailing influenced by Grotesque 215.

With the rise of popularity of neo-grotesque sans-serif typefaces such as Helvetica in the 1950s, which featured a more homogeneous design across a range of styles, Monotype attempted to redesign Monotype Grotesque around 1956 under the name of 'New Grotesque' in a more contemporary style after Pierpont's death in 1937. The project proved abortive (Monotype's obituary of Morison described him as having agreed to it 'without any great enthusiasm'), and did not progress beyond the release of some alternative characters.[7][16][17] Monotype ultimately came to license Univers, Adrian Frutiger's extremely comprehensive new sans-serif family, from Deberny & Peignot.[18] Historian James Mosley has commented that "orders unexpectedly revived" for it around 1960, partly as Univers was only slowly made available on the popular Monotype system, "or maybe they did not want to use the rather bland Univers anyway."[19][9] Mosley wrote in 1999 that the interest in its eccentric design "represents, even more evocatively than Univers, the fresh revolutionary breeze that began to blow through typography in the early sixties," and that "its rather clumsy design seems to have been one of the chief attractions to iconoclastic designers tired of the...prettiness of Gill Sans".[19][9] Phyllis Margaret Handover, a historian and Stanley Morison's assistant, listed some dates for the family in a 1950s article.

Monotype would later use aspects of Monotype Grotesque and New Grotesque as an inspiration for Arial, a new design styled to generally be very similar to Helvetica.[20][21]

Metal type weights

[edit]

Monotype Grotesque formed a sprawling family with a range of weights sold at different times. The following is a list of known series numbers, their state in post-war specimens and dates where available.[22]

  • Regular, series 215 with oblique (1926),[2] single-storey 'g'[23][24]
  • Bold, series 216 (1926),[2] single-storey 'g',[25][26]
  • Bold, series 73, different design with a non-strikethrough 'Q'.[27]
  • Light, series 126 with oblique, single-storey 'g'.[28][29]
  • Medium, series 51 (1910),[2] with the 'g' double-storey. Not digitised in the "Monotype Grotesque" releases.[30][31]
  • Condensed, series 33 (1905), a medium weight with a single-storey 'g'. Stephen Coles comments that this series is "really two different typefaces. Note sizes below 14pt are very different than Large Composition and Display Matrices which are essentially Alternate Gothic No. 3. Neither are part of the digital version of Monotype Grotesque."[32][33] Described by Handover as a narrower companion to series 15.[2]
  • Condensed, series 318, more condensed than the above, a medium weight with a single-storey 'g'.[34][35]
  • Condensed or Extra Condensed, series 383, even more condensed, a medium weight with a single-storey 'g' and no vertical spur on the 'G'.[36][37]
  • Bold Condensed, series 15 with oblique (1903),[2] double-storey 'g'.[38] Very similar to "Headline Bold" (below) but different 't' and 'r'.
  • Bold Condensed, series 81, double-storey 'g'.[39]
  • Bold Extended, series 150 with italic (1921, 1923-4),[2] double-storey 'g'. The digital version includes a "Display" style with slightly less contrast and differences to some capital letters.[40] Single-storey 'g' and 'a' in italic.[41][42]
  • Light Condensed, series 274, single-storey 'g'.[43]

Titling weights (capitals only):

  • Condensed Titling, series 523.[44]
  • Bold Titling, series 524.[45]
  • Bold Condensed Titling, series 527, z-form ampersand, strikethrough 'Q'.[46][47]
  • Bold Condensed titling, series 166, more condensed than series 15, z-form ampersand, non-strikethrough 'Q'.[48][22]

Monotype also sold a few other general-purpose sans-serifs, listed here for completeness:

  • Headline Bold and Italic, series 595, a clone of Stephenson Blake's popular Grotesque No. 9. Flat-topped 't' and droop on the 'r'.[49]
  • Placard, a geometric sans-serif, with weights:
  • Bold Condensed, series 506.[22]
  • Bold Condensed, series 515, different proportions.[22]
  • Condensed, series 568, lighter.[22]
  • Light Extra Condensed, series 505.[22]

Digital releases

[edit]

Monotype Grotesque

[edit]

A release of light and regular styles (with italics), bold and black, light and standard condensed, regular extra-condensed and bold extended weights of Bitstream Gothic 720. This set is also sold by Adobe.

Monotype Grotesque Display

[edit]

A variant with altered designs. The family consists of Bold Condensed and Bold Extended fonts. Digital version was sold by Linotype.

Classic Grotesque

[edit]

A less eccentric updating designed by Rod McDonald. The design combines the features in Venus and Ideal Grotesk font families. Alternate characters are also added.[50][51] The development was originally approved in 2008, and lasted four years.[52][53]

The font family originally includes 14 fonts in 7 weights, with a complementary italic. OpenType features include numerators/denominators, fractions, ligatures, lining/old style/proportional and tabular figures, superscript, small capitals, stylistic alternates, stylistic sets 1 and 2 (Roman fonts only). Only one width is offered, without condensed or extended designs.

OpenType Pro version supports all western European, most central European and many eastern European languages.

Condensed, Compressed and Expanded widths were added in 2016, increasing the family to 56 fonts.[54]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Monotype Grotesque

View on Grokipedia
from Grokipedia
Monotype Grotesque is a family of typefaces developed by the Monotype Corporation in 1926 for its system, supervised by American type designer Frank Hinman Pierpont as an adaptation and update of earlier 19th-century such as Berthold's Ideal Grotesk and Thorowgood's from 1832. Classified as a , it features irregular and quirky letterforms with uneven stroke widths, bold contrasts, and distinctive details like the angled terminals on the 'e' and 'c', setting it apart from the more neutral neo- that followed. Originally issued in multiple weights and incorporating elements from other Monotype sans-serifs, the family was one of the earliest widely available designs in Britain, contributing to the evolution of modern during the . Pierpont, who had extensive experience adapting typefaces for Monotype's machinery after working at Typograph in , aimed to create a versatile face suitable for , , and use, reflecting the growing popularity of sans-serifs in . Though it did not achieve the ubiquity of contemporaries like or Futura, its influence is evident in later revivals, digital adaptations, and designs such as . In the digital era, Monotype Grotesque was revived with 12 styles by the Monotype Design Studio and Steve Matteson, debuting on MyFonts in while preserving the original's eccentric charm but smoothing some eccentricities for contemporary legibility. Available for desktop and web use through Monotype's library, it remains a respected choice for projects seeking a historical yet bold aesthetic, often paired with serifs for contrast in branding and . As part of the broader category—exemplified alongside faces like and —Monotype Grotesque exemplifies the transitional style that bridged Victorian with modernist simplicity.

Overview and Design

Origins and Influences

Monotype Grotesque emerged within the broader historical context of grotesque typefaces, which originated in the late as practical, neutral designs suited for trade and jobbing . These typefaces, often characterized by their unadorned forms and lack of serifs, were developed to meet the demands of industrial-era for advertisements, catalogs, and commercial materials, prioritizing and over decorative flair. Early examples proliferated across and the , reflecting a shift toward functional in an era of rapid mechanization. The typeface was specifically inspired by two prominent early 20th-century German designs: from the Bauer Type Foundry, released between 1907 and 1914, and Ideal Grotesk from H. Berthold AG, first cast in 1908 and later acquired by Berthold in 1920. These influences contributed to Monotype Grotesque's irregular and distinctly industrial aesthetic, with providing monolinear structures and condensed styles that evoked mechanical precision, while Ideal Grotesk introduced eccentricities in letterforms that Pierpont selectively retained for a raw, utilitarian character. American engineer and type designer Frank Hinman Pierpont, who had joined the Monotype Corporation in in 1899 as works manager, supervised the adaptation of these continental models to align with British printing preferences, emphasizing compatibility with local machinery and compositional needs. Released in 1926 by the Monotype Corporation, the was created expressly for its hot-metal machines, marking one of the earliest sans-serifs optimized for this technology and filling a gap in the British market for versatile designs. Pierpont's oversight ensured the final product balanced imported irregularities with practical enhancements, resulting in a family that captured the gritty essence of early industrial grotesques while suiting Monotype's automated production.

Characteristic Features

Monotype Grotesque exhibits irregular, non-uniform widths and spacing that contribute to its industrial and eccentric appearance, distinguishing it as an early 20th-century grotesque sans-serif designed for hot-metal . This variability in line thickness and inter-character spacing creates a sense of raw, unpolished energy, evoking the mechanical precision of early industrial while avoiding the uniformity of later designs. Key letterforms underscore this quirky character: uppercase letters feature near-equal widths for a blocky, robust look, with the M formed in a distinctive square shape that emphasizes stability and width. The uppercase G includes a spurred tail in lighter weights, adding a subtle flourish reminiscent of transitional influences, while the lowercase 'a' adopts a double-storey structure for clarity in extended reading. Certain series incorporate a single-storey 'g', blending British and German conventions to enhance without sacrificing the typeface's idiosyncratic charm. In contrast to neo-grotesques like , Monotype Grotesque displays less refined proportions and more varied character widths, resulting in a less geometrically precise and more organic rhythm that prioritizes personality over neutrality. 's even stroke modulation and consistent spacing refine these elements into a cleaner, more modern aesthetic, whereas Monotype Grotesque retains the bolder eccentricities of its grotesque roots. This irregularity lends it a distinctive voice suitable for display and emphasis rather than seamless universality. Technically, the features a relatively large relative to its cap height, promoting in body text for trade printing applications where quick visual parsing is essential. Stroke modulation is low but uneven, with subtle variations that avoid monotony while maintaining sufficient contrast for small sizes on newsprint or book pages. Overall, these attributes ensure effective performance in continuous text, balancing the grotesque's inherent quirkiness with practical utility for mid-20th-century commercial work.

Historical Development

Early Release and Adoption

Monotype Grotesque was released in by the Monotype Corporation as part of its efforts to expand its typeface offerings for systems. The design, supervised by Frank Hinman Pierpont, adapted influences from earlier German sans-serifs such as and Ideal Grotesk to suit Monotype's compositional technology. This launch aligned with the broader early 20th-century rise of typefaces in , where they embodied modernist principles of simplicity and functionality amid growing interest in streamlined . Initially offered in limited weights—such as series 215 for the regular and series 216 for the bold—Monotype Grotesque served as a cost-effective British-produced option compared to importing German grotesques like , facilitating easier access for domestic printers via Monotype's automated systems. The saw rapid adoption in British trade printing during the , valued for its neutral appearance balanced with distinctive character that lent versatility to commercial outputs like catalogs, advertisements, and industrial .

Post-War Revival and Redesign

Following World War II, typography underwent a significant shift toward functionalism, driven by the International Typographic Style emerging in Switzerland and spreading across Europe, which emphasized clarity, neutrality, and sans-serif forms as symbols of modernity and rationality. Monotype Grotesque, with its irregular Victorian-era eccentricities such as uneven stroke widths and quirky letterforms, served as a historical bridge between the more characterful "old-style" grotesques of the 19th century and the smoother, uniform neo-grotesques like Helvetica that dominated this functionalist era. This positioning highlighted its enduring appeal amid the push for streamlined designs, as designers appreciated its blend of tradition and adaptability in post-war printing. In 1956, Monotype initiated efforts to modernize the typeface in response to customer demands from and for lighter weights, particularly for the Bold variant (series 216), leading to the creation of a new series (616) with trial cuttings produced by 1960. These redesign attempts expanded in the early to include revisions for the Regular weight (series 615), involving extensive redrawing of 11-point sizes to align more closely with contemporary neo-grotesque standards, but the project faced repeated criticisms and was ultimately abandoned in 1967. Revived in 1970 as the "New Grotesque" initiative for filmsetting adaptation, it drew direct influence from to meet market needs, basing new drawings on the original 10-point hot-metal version; however, the effort ended in 1972 when Monotype gained rights to produce Helvetica itself, rendering the redesign abortive. During the , Monotype Grotesque experienced a notable revival within design circles in Western and , valued for its quirky, anti-modernist irregularities that contrasted with the prevailing functionalist sans-serifs. It was prominently featured in influential publications like Typographica, the experimental quarterly edited by Ruari McLean and , where issues such as the volumes were set in Monotype Grotesque series 215/216, showcasing its appeal in letterpress and offset-litho experiments. This resurgence positioned the typeface as a deliberate counterpoint to the era's sleek neo-grotesques, embracing its eccentric traits for expressive, non-conformist graphic work. The typeface's post-war legacy extended into later designs, notably influencing Microsoft's , released in 1982, which adapted Grotesque's distinctive detailing—such as the tail on the 't' and angled terminals—while adopting Helvetica's proportions for compatibility, thereby retaining more irregularity than its neo-grotesque counterpart. Developed by Monotype's Robin Nicholas and Patricia Saunders as a scalable alternative for emerging technologies like the IBM 3800, Arial built on the earlier New Grotesque experiments to bridge historical grotesques with modern functionality.

Variants and Releases

Metal Type Weights

Monotype Grotesque was produced in several metal type weights for use in the Monotype Corporation's system, which cast individual characters from molten alloy using brass matrices. The primary series included the regular weight as Series 215, released in 1926 and adapted from the German Ideal Grotesk design by F. H. Pierpont, available in sizes ranging from 5 point to 72 point for both composition and display purposes. The bold weight followed as Series 216, also issued in 1926, with similar size availability from 5 point upward, featuring increased stroke thickness for emphasis in body text and headings. An earlier precursor appeared in the condensed form as Series 33, released in 1905 and derived from American Type Founders models, offering narrower proportions suitable for space-constrained layouts and produced in display sizes of 14 point and larger via bronze matrices. Additional variants expanded the family, including the light weight in Series 126 from 1926, which provided a thinner for subtler applications and was cast in sizes from 5 point to 48 point Didot equivalents. The bold weight, appearing in Series 73 around 1909, offered a heavier, more extended alternative with distinct eccentricities in form. Other variants included Bold Condensed in Series 15 (1903) and Light Condensed in Series 274. The extended variant in Series 150 provided wider letter spacing for titling, emphasizing horizontal stretch in bold forms. Letterform variations across these weights reflected evolving design priorities and source influences. For instance, the lowercase 'g' transitioned from a double-storey form in earlier series like 51 (1910) to a single-storey version in the core 1926 releases of Series 215 and 216, contributing to a more streamlined appearance in later productions. Condensed weights such as Series 33 maintained tighter proportions with reduced widths, contrasting the broader, more open structures in extended variants like Series 150, which amplified horizontal metrics for visual impact. These weights were manufactured exclusively for Monotype's composition casters and machines, with each series typically comprising around 200-250 characters per font, including alphanumeric sets, , and basic figures, arranged in standardized diecases for efficient hot metal casting. Post-World War II, the shift toward and digital composition in the and led to the withdrawal of many series by 1967, rendering certain weights like the light and extended variants increasingly rare as demand for metal type declined sharply.

Digital Versions

The transition of Monotype Grotesque to digital formats occurred primarily during the and , as technologies proliferated and companies like Monotype, , and Linotype converted classic hot-metal typefaces for use in computer-based design and systems. , founded in 1981, played a key role in this process by digitizing thousands of historical fonts to support early raster and vector rendering on personal computers. These efforts enabled the typeface's adaptation from physical matrices to scalable digital outlines, facilitating its integration into software like applications. The core digital family encompasses weights including light, regular, bold, and black, supplemented by condensed and extended variants to provide versatility for various layout needs. Bitstream's Gothic 720, released as a direct digital interpretation of Monotype Grotesque series 126, 215, and 216, forms the basis of this and remains available through Adobe's font , offering six styles optimized for screen and print reproduction. Monotype's own digital release expands to a complete of 12 fonts, preserving the typeface's historical irregularities while ensuring compatibility with modern workflows. Subsequent updates to the digital versions introduced formatting, enhancing cross-platform functionality across Windows, macOS, and web environments, along with support for discretionary ligatures and alternate glyphs to improve readability and aesthetic fidelity. These features address the limitations of earlier and implementations, allowing for more nuanced control over and character substitution. One notable challenge in this digitization was replicating the eccentric qualities of the original metal type, such as uneven stroke weights and irregular , which could appear smoothed or standardized in pixel-based rendering without careful vector interpolation. Digital adaptations thus required meticulous redrawing to retain the typeface's quirky, handcrafted essence from the hot-metal era, avoiding over-regularization that might dilute its distinctive character.

Usage and Legacy

Historical Applications

During the and , Monotype Grotesque found prominent application in British trade printing, particularly for product catalogs, , and advertisements in industrial sectors, where its straightforward and functional aesthetic suited the demands of commercial communication. Printers valued its versatility for conveying efficiently in materials such as engineering supply catalogs and factory , emphasizing practicality over ornamentation in an era of expanding industrial output. In the post-war years, the typeface gained traction in avant-garde publications, notably appearing on Penguin book covers during the 1960s under art director Germano Facetti, where its inherent eccentricities—such as uneven stroke widths—offered a deliberate to the clean precision of Swiss modernist designs like . This use highlighted its role in experimental layouts that blended historical quirkiness with contemporary editorial needs, often in articles exploring typography's evolution. Notable adoptions included book covers and posters for industrial clients, such as those produced by British foundries for machinery manufacturers and trade exhibitions, where bolder weights provided visual impact in promotional materials. As hot-metal advanced into the , Monotype Grotesque shifted from primary body text roles to more prominent display applications, adapting to larger formats in posters and headlines that required greater visual presence.

Modern Interpretations and Comparisons

In the late , Monotype Grotesque saw digital adaptations that extended its utility for display purposes, including bold condensed and extended variants optimized for headlines and large-scale applications. These were digitized by Monotype and released in , preserving the original's quirky character while enabling use in modern software. A significant contemporary revival is Classic Grotesque, designed by Canadian type designer Rod McDonald and released by Monotype starting in 2012, with the project originating in the . This family draws direct inspiration from the 1926 Monotype Grotesque, blending its eccentricities with influences from related faces like Ideal Grotesque and to create a more consistent and versatile suite. Initially comprising seven weights from Light to Extra Bold (with matching italics), it expanded to 56 styles by 2016 through the addition of four widths: normal, condensed, compressed, and extended. features include alternate characters such as a closed lowercase a, a double-story g, and modified e, enhancing legibility and stylistic flexibility for editorial and branding contexts. Monotype Grotesque's influence is evident in comparisons to other grotesques, positioning it as a bridge between early designs like (designed in 1896 by the ) and later developments. Retaining a rawer, less polished asymmetry in letterforms, such as uneven stroke endings and quirky proportions, it contrasts with neo-grotesque successors like (1957, by ) and (1982, by Robin Nicholas and Patricia Saunders), exhibiting more irregular, "humanist" quirks rather than the uniform, smoothed geometry that defines those ubiquitous sans serifs. Its American counterpart, (1902, by ), shares a bold, sturdy presence but features thicker strokes and a more mechanical rigidity, lacking Monotype Grotesque's subtle Victorian-era flourishes. Today, Monotype Grotesque and its revivals find renewed application in branding, , and retro-inspired , evoking mid-20th-century authenticity in logos, websites, and editorial layouts. Examples include its use in cultural publications and corporate identities seeking a yet legible vibe. Digital versions, including the Display variants and , are licensed through platforms like MyFonts and Monotype's official site, supporting web embedding via WOFF formats and desktop deployment.

References

  1. https://www.myfonts.com/collections/grotesque-mt-font-monotype-imaging/
  2. https://luc.devroye.org/fonts-33031.html
  3. https://www.typewolf.com/monotype-grotesque
  4. https://www.identifont.com/show?134
  5. https://e-daylight.jp/fonts/designers/pierpont.html
  6. http://www.typography101.net/grotesque.html
  7. https://99designs.com/blog/creative-inspiration/best-grotesque-fonts/
  8. https://www.designhistory.org/Type_milestones_pages/SansSerif.html
  9. https://fontsinuse.com/typefaces/16/venus
  10. https://fontsinuse.com/typefaces/31987/ideal-grotesk
  11. https://www.circuitousroot.com/artifice/letters/press/typemaking/history/engineers-and-works-managers/pierpont/index.html
  12. https://www.eyemagazine.com/blog/post/type-tuesday30
  13. https://creativemarket.com/blog/grotesque-fonts
  14. https://www.monotype.com/resources/guide-type-styles
  15. https://imprint.com/blog/2023/04/26/different-types-of-fonts-and-when-to-use-them/
  16. https://www.quora.com/What-are-the-differences-between-American-Grotesque-and-European-Grotesk
  17. https://typ.io/fonts/monotype_grotesque
  18. https://www.ntf.uni-lj.si/igt/wp-content/uploads/sites/8/2015/09/Slogi05.pdf
  19. https://fontsinuse.com/typefaces/18/monotype-grotesque
  20. https://www.monotype.com/fonts/classic-grotesque
  21. https://fontipedia.fandom.com/wiki/Monotype_Grotesque
  22. https://www.smashingmagazine.com/2013/06/making-sense-of-type-classification-part-2/
  23. https://design.tutsplus.com/articles/the-rise-of-the-sans-serif--cms-33548
  24. https://klim.co.nz/blog/new-details-about-origins-akzidenz-grotesk/
  25. https://www.paulshawletterdesign.com/2010/04/blue-pencil-no-9%25E2%2580%2594type-a-visual-history-of-typefaces-and-graphic-styles-vol-2-1901%25E2%2580%25931938/
  26. https://www.printmag.com/design-culture/univers-of-helvetica-history/
  27. https://www.paulshawletterdesign.com/2011/11/blue-pencil-no-18%25E2%2580%2594arial-addendum-no-4/
  28. https://grainedit.com/2009/02/24/typographica-7-edited-by-herbert-spencer/
  29. https://www.paulshawletterdesign.com/2011/09/blue-pencil-no-18%25E2%2580%2594some-history-about-arial/
  30. https://www.marksimonson.com/notebook/view/the-scourge-of-arial/
  31. https://collection.sciencemuseumgroup.org.uk/documents/aa110126461/specimen-sheet-for-grotesque-no-1-series-number-215
  32. http://www.alembicpress.co.uk/Typecaster/numb.htm
  33. https://fontsinuse.com/typefaces/242667/grotesque-condensed
  34. https://collection.sciencemuseumgroup.org.uk/objects/co8703924/display-size-matrices-for-grotesque-condensed-typeface-series-number-33
  35. https://www.twentiethcenturyposters.com/products/monotype-sample-sheet-grotesque-light-126
  36. https://collection.sciencemuseumgroup.org.uk/documents/aa110126420/specimen-sheet-for-gill-sans-shadow-titling-series-number-304
  37. https://whattheythink.com/articles/55522-day-typesetting-industry-died/
  38. https://www.eyemagazine.com/feature/article/the-image-as-evidence
  39. https://typographica.org/typeface-reviews/classic-grotesque/
  40. https://www.myfonts.com/collections/classic-grotesque-font-monotype-imaging/
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