Pierre Simon Fournier

By 1737, the younger Fournier decided to begin creating his punches to a scale of 6 ciceros or 72 points to the Paris inch, instead of the then-standard height-to-paper method.

The typefaces that Fournier and successors created had such extreme contrast between thick and thin strokes, that there was a constant risk of the letters shattering.

Upon publishing Modèles des Caractères, filled with rococo and fleurons, Fournier's publication helped revive the 16th century concept of type ornaments.

Working with J. G. I. Breitkopf in 1756, Fournier developed a new musical typestyle that made the notes round, more elegant, and easier to read.

[citation needed] Patenting his invention in 1762, he surprisingly was frowned upon by other printers, who initially didn't recognise the practice as legitimate.

He published a historical and critical treatise on the origins and process of cast iron characters for music, in which he pleaded for acceptance of his own works, while blasting Ballard.

This led to the newly appointed advisor to the Monotype Corporation, Stanley Morison, initiating a program of recutting past faces.