I know next to nothing about this ultra-geometric blackletter called Anderson that I found displayed in a Dan X. Buried in the "gingerbread" of this weird face is technically a Latin serif, but otherwise it is an entirely unique letterform for which I had a heart soft enough to revive here in digital form. Another oddball typeface is revived here, renamed from the design called Alpine by Henry Schuenemann for the Cleveland Type Foundry in the 1880s. While this was not my most challenging project, it was a doozy. Cumming in the late 1880s for the Dickinson Type Foundry in Boston. This is a digital revival of the original Algonquin, cut by J.F.
Aloysius and Aloysius Ornamented (2017). Solo, Algol is a vastly expanded character set for Algernon, a typeface that clearly presages Machine and other "octics." I don't have any source material for the original design, but it may have been a Dan Solo original. It is definitely an oddball and may never see use. I would classify it is as neo-Victorian medium-contrast decorative italic. I have recently worked on it extensively to make it usable as a multilingual slightly redesigned font in OTF format. Most of those 2,000 scans were lost when I changed computers a long time ago, but Abel Cursive survived and I made a down-and-dirty mow-and-blow font back then. Before I sold my equipment and closed my business for good, I made a scan of every typeface at 72-point size that I owned for future development, if there ever came a time to work on something crazy like that. Apparently it was designed by Bernie Abel (perhaps one of CompuGraphic's employees) and I'm not sure it got much use, since I don't recall seeing it anywhere except my type catalog. One of the faces I never used in two decades of work was a rather ungainly decorative font called Abel Cursive. When I was a typesetter in New York City, I had one of the largest collections of typefaces from CompuGraphic's library available for setting. The annotations in the list below are quoted from Prescott's pages. In these three years, he showcased his work on Facebook, and was mainly involved in reving 19th century typefaces, about half of which were from the Victorian era. 
For this reason, Prescott's oeuvre is split over several pages: His work can be partitioned into time periods. In 2019, he announced that he would stop making typefaces altogether. He operates as APT and more recently as AJPT. He advertizes himself as a leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. Originally from Greenfield, MA, he graduated from Saddleback College, and worked for some time as a typesetter in New York. Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. TYPE DESIGN INFORMATION PAGE last updated on
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