P22 Tyndale was designed by Ted Staunton and released by IHOF. P22 Tyndale consists of 2 styles and household bundle choices. p >

Quill-formed roman/gothic with an olde-worlde flavor.

Some background in the designer's own words:

' A series of typefaces entered your mind which would be rooted in the medieval age -for me, a period of extreme interest. Prior to Gutenberg's advancement of industrial printing with type on paper in the mid-1400s, books were still being composed out by hand, on vellum. At that time, a Bible cost more than a typical workman might hope to make in his entire lifetime. Men like William Tyndale committed their energies to equating the Scriptures for the benefit of common individuals in their own language, and were burned to death at the stake for doing so. Those in authority correctly acknowledged a terminal threat to the fabric of feudal society, which focused on the church.

' This spiritual metamorphosis was shown in letterforms: which, like structures, show the mood of the duration in which they take shape. The middle ages era produced the Gothic cathedrals; their strong vertical focus was meaningful of the vertical relationship then existing between guy and God. The abundant tracery to be seen in the interstices and vaulted ceilings epitomized the complex social characteristics of feudalism. Parallels might be clearly seen in Gothic type, with its vertical strokes and embellished capitals. Taken as a whole, Gothicism represented a magical approach to life, filled with meaning and images. To the commoner, letters and words resembled other spiritual icons: too expensive for his own understanding, but belonging to God, and deserving of respect.

' Roman type, quickly adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane technique to life, where the words were simply the vehicle for the concept, and letters merely a required benefit for making words. The common male might check out, think about and discuss what was printed, without having the least respect for the image. In reality, the less the medium disrupted the message, the better. The most effective typefaces resembled the Roman legions of old; machine-like in their ordered performance and privacy. Meanwhile, Gutenberg's Gothic letterform, in which the biggest technological revolution of history had first been dressed, soon ended up being relegated to a Germanic metachronism, restricted to a decreasing sphere of influence.

' A fascinating Bible in my belongings dating from 1610 completely illustrates this duality of function and kind. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text maintains the magical, spiritual quality of the hand-scripted manuscript (typically rendered in Latin, which a cleric would check out aloud to others), while the clear, open side-notes are developed to supplement a personal Bible study.

' Tyndale is among a series of fonts in procedure which explore the transition between Gothic and Roman types. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, instead of the privacy imbued by the etching device. They are an effort to attain the secret and marvel of the Gothic period while maintaining the legibility and clearness finest exposed in the Roman form.

' Reformers such as Tyndale were taken in with a passion to make the gospel offered and comprehended to the masses of pilgrims who, looking for a religious experience, thronged into the skyrocketing, gilded cathedrals. Centuries later on, our requirement for communion with God stays the very same, in spite of all our technology and sophistication. How can our limited minds, our human logic, understand the transcendent mystery of God's fantastic sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be given our hands, our hearts and our minds. It is an advantage for me to dedicate my typeface in his memory.'

Font Family:
· P22 Tyndale P22 Tyndale
· P22 Tyndale Xtras

Tags: ancient, blackletter, botanical, calligraphic, decorative, fleuron, martyr, old-style numerals, ornament, picture