The Bulmer typeface: from William Bulmer’s Shakespeare Press to today’s revivals
When we think of the great printers of Britain, William Bulmer deserves a special mention. His story is not only about books, presses, and type, but about a commitment to beauty and craftsmanship that still inspires designers today. From his celebrated Shakespeare Press in London to the typeface that bears his name, Bulmer helped shape what “fine printing” could mean.
But this isn’t just history. The typefaces that began with Bulmer and his punchcutter William Martin have been revived, reimagined, and set into books centuries later—including some of our own favorites.
A Printer with High Standards
Born in 1757 in Newcastle upon Tyne, Bulmer started young in the print world before moving to London, the beating heart of British publishing. There he established The Shakespeare Press, known not for speed or mass production but for extraordinary quality.
His most famous project was the Boydell Shakespeare (1791–1802)—a luxury edition of Shakespeare’s works, filled with fine copperplate engravings and elegant typography. These weren’t everyday books. They were treasures, made for readers who valued not only words but also the artistry of the page.
The Birth of the Bulmer Typeface
Central to Bulmer’s success was his collaboration with William Martin, a talented punchcutter who had once worked alongside John Baskerville. For Bulmer, Martin designed a new typeface that bridged styles: more condensed and modern than Baskerville, but gentler than the dramatic, high-contrast designs of Bodoni or Didot.
This typeface, later known simply as Bulmer, became one of the defining fonts of the late 18th century. It was elegant but approachable, refined but never cold—qualities that continue to make it a favorite among typographers.
A Typeface That Keeps Coming Back
What’s remarkable is how Bulmer’s type has continued to live new lives. In 1928, Morris Fuller Benton revived the design for Monotype Bulmer, which has since become a classic in publishing. We love it so much that we chose it for our edition of Edmund Burke’s writings—a perfect match for Burke’s measured, eloquent prose.
More recently, type designer David Jonathan Ross created Warbler, a revival that draws directly on Martin’s 1790s letterforms. Warbler retains the softness and subtle gestures of the original: the swing of an a, the lean of a g, the meandering tail of an e. These details make it feel alive, a reminder of the gentler side of serifs. We used Warbler to set William Drummond’s book on Athens and Sparta, and it brought just the right balance of history and freshness to the page.
Why Bulmer Still Inspires Us
For us, Bulmer is more than just a typeface—it’s one of our favorites. There’s something timeless about the way William Martin’s design sits on the page: confident yet graceful, precise yet warm.
William Bulmer himself may have passed away in 1830, but his vision continues to shape typography today. Whether in the luxury editions of the 18th century, Monotype’s 20th-century revival, or the contemporary elegance of Warbler, his influence reminds us that restraint, balance, and craft never go out of style.
