THE boldly advertised claim "Superior Printer"
marked the opening of the printing establish-
ment of George W. Jones at The Sign of the
Dolphin in St. Bride Street when he came to
London in 1889.
Little known at that time, he gained world
fame in later years for his craftsmanship, his
particular success with four-color reproductions,
his versatility in the handling of type, borders'
and Ornaments, his type designs and his library.
Mr. Jones was born at Upton-on-Severn in
1860 and served his printing apprenticeship in
Worcester. As a young man in Edinburgh,
where he was employed at the Darien Press, he
expressed his love and knowledge of the typo-
graphic arts as an instructor of printing stu-
dents, and continued his teaching in London.
A true craftsman, he lavished special care in
the layout and production of even the smallest
assignment. An avid collector of early printed
books, of woodcut illustrations, borders, Orna
ments and initials, he made painstaking use of
all the materials at hand in designing fine print
ing. What Mr. Jones lacked in creative genius
he made up in his ability to adapt ideas and de
signs from other sources in his own work.
Trying his hand at type design in later years,
his Granjon, which is used in this text, was an
outstanding success. Paul Beaujon, in an article
in The Fleuron on Garamond types, referrin?
to this face, says, "the first and immeasurably
the best of modern revivals of this letter is that
of the Linotype Company. It is a book face
worthy to rank with Caslon for usefulness, with
Centaur for beauty, sharp enough for publicity,
clear enough for a dictionary. For some
reason the face is called 'Granjon.'
A page from the book Robert Granjon: Six-
teenth Century Type Founder and Printer, is-
sued by the Mergenthaler Linotype Company in
1931 to introduce this new face, is fairly typical
of Mr. Jones' style, and is reproduced herewith.
The rules in the original are a pale brick red.
Another type face which he designed for the
Mergenthaler Linotype Company was Estienne.
OTTIN, the eighteenth Century
historianof French typographers,
Rates that Robert Granjon, after
whom the Linotype Granjon Old
Face types are named, began his
career in the year 1523, but wc
know nothing of him earlicr than
'545, and so are faeed with a long gap at the outset of his
adbyities. He had a European reputation as a type-cuttcr
in his day, and as he was onc of the firft whom we know
to have excrciscd the trade of type-founding apart from
that of printcr, it bccomes of some importance in the his-
tory of typography if wc can eftablish dcfinitely which
types he cut. In some cases we have definite evidcncc on
which to build, but these are only few in number. He is