Jan van Krimpen (12 January 1892, in Gouda – 20 October 1958, in Haarlem) was a Dutch typographer, book designer and type designer. He worked for the printing house Koninklijke Joh. Enschedé. He also worked with Monotype in England, who issued or reissued many of his designs outside the Netherlands.
Van Krimpen was a leading figure of international reputation in book printing during his lifetime. He designed books both in the Netherlands and for the Limited Editions Club of New York, amongst others. His work has been described as traditional and classical in style, focusing on simplicity and high quality of book printing.
Type designs
Van Krimpen's type designs are elegant book typefaces, originally made for manual printing and the Monotype machine. Although a good few have been digitised (Romulus, Haarlemmer, Spectrum), the typefaces are only rarely used in publications. Van Krimpen was opposed to the idea of directly reviving type designs of the past, and his work is influenced by the structure of classical Roman square capitals in the upper case and chancery calligraphy of the Renaissance in italic. His approach of pursuing a personal path in type design was continued by Sem Hartz, his successor at Enschedé, and has been of interest to more recent Dutch designers such as Martin Majoor.
An extensive review of van Krimpen's work is type designer Walter Tracy's Letters of Credit, a chapter of which assesses Van Krimpen's entire output. From his perspective as a designer who had worked on types for difficult uses such as newspapers and small-size printing, Tracy felt that van Krimpen's love of classical letterforms made his work sometimes interesting but often impractical for general use: "a person of knowledge, ability, and taste...the empirical attitude and the practical method were not, it seems, Van Krimpen's way...he worked from an inner vision, not from a broad view of practical realities and requirements." Tracy considered Spectrum "crisp and positive" and "the most practical" of Van Krimpen's types. Van Krimpen had reservations about the quality of machine engraving of type punches and most of his designs were cut into metal by Enschedé's house punchcutter P.H. Rädisch, at least in the pilot sizes.<ref name="Grandeurs and Miseries of the Punch-Cutter's Craft">{ { cite journal|last1=Ovink|first1=G. Willem|title=Grandeurs and Miseries of the Punch-Cutter's Craft: a review of A to Z. Een autobiografie van P.H. Rädisch, staal-stempelsnijder|journal=Quaerendo|date=1 January 1980|volume=10|issue=2|pages=158–172|doi=10.1163/157006980X00149}}</ref>
Normally a punch-cutter like Rädisch would add quite some personal interpretation on the final result of the font. This was actually the fact with the first trial of the Lutetia-font. But van Krimpen did not accept this at all, he insisted that all punches were recut. Sem Hartz describes this as follows: "The designer, however, insisted on a recutting of the type, and although it certainly is flawless in its final form it has a slightly stilted look which is absent from its first form."
Of special note is the Romulus 'superfamily', consisting of a seriffed font, a sloped roman, a chancery italic (Cancelleresca Bastarda), a sans-serif, and a Greek in a range of weights. Such an extensive family would have been a first, comparable to today's Scala family by Majoor. The outbreak of the Second World War disrupted the project before completion. After the war, Van Krimpen was not interested in resuming it. The decision to use a sloped roman rather than a true italic was influenced by the theories of his friend Stanley Morison, who for a time suggested that italics were too disruptive to the flow of text and should be phased out except for decorative printing. Both Van Krimpen and Morison later moved away from the idea.
Foundry Type
These foundry types were designed by Jan van Krimpen: Lutetia (1925 Enschedé Foundry, 1928 Monotype)
Of this font, there was the first trial made by Rädisch, and the punches and matrices of the second version controlled by van Krimpen. There were two sizes of open Capitals. Van Krimpen started to alter 36pt and 48 pt capitals taking some lead away from the surface. Using them as initials in printed texts by Enschedé. Later was decided to make matrices for this variants too.