ELECTRA, an original modern, designed for Linotype by W. A. Dwiggins, reflects the warmth and distinction of his personal lettering. The effort was to work into Electra letter shapes, where possible, some of the twentieth-century spirit: electricity, high-speed steel, streamlined curves, the readers' familiarity with newspaper and type-writer faces ... to develop letters filled with energy, human warmth and personality. Electra is available with either an oblique Roman lower-case companion form, or the more familiar cursive.
ELECTRA was used for setting the Investigation Into the Physical Properties of Books, pp. 129-144 and Twenty Years After, pp. 145-152.
EMERSON was designed by Joseph Blumenthal and cut by Monotype in England in 1934. The face is a duplicate of his Spiral Press type, designed several years earlier and cut for him by Louis Hoell in Frankfort, Germany, in 1931. This face was initially used for a limited edition of Ralph Waldo Emerson's essay on Nature, printed on a hand press at Croton Falls in 1932, and privately published. The accompanying Emerson Italic was designed in 1936.
EMERSON was used for setting Typography of William Morris, pp. 233-238.
FAIRFIELD, a slightly decorative, original and contemporary old style, was designed for Linotype by Rudolph Ruzicka, the distinguished American wood engraver. Sharply cut, as though the letters came from the artist's graver rather than pen, Fairfield was designed for reading by "one of the most knowledgeable men in the country about letter forms and their style." To invite continuous reading, the designer feels, "type must have a subtle degree of interest and variety of design."
FAIRFIELD was used for setting The Fun and Fury of a Private Press, pp. 220-225.