The leading Flemish punchcutter of his time and typefounder for Plantin, a superb craftsman active in Ghent in the third quarter of the sixteenth century. Proofs surviving at the Plantin-Moretus Museum showing development of dark, large x-height romans from Flemish blackletter appear to be responsible for Stanley Morison’s theories on the subject.

Van den Keere’s 2-line Double Pica Roman (Gros Canon), cut around 1570 and shown in Plantin’s c.1585 folio specimen, is the basis for Fred Smeijers’ recent face, Renard.

The leading Flemish punchcutter of his time and typefounder for Plantin, a superb craftsman active in Ghent in the third quarter of the sixteenth century. Proofs surviving at the Plantin-Moretus Museum showing development of dark, large x-height romans from Flemish blackletter appear to be responsible for Stanley Morison’s theories on the subject.

Van den Keere’s 2-line Double Pica Roman (Gros Canon), cut around 1570 and shown in Plantin’s c.1585 folio specimen, is the basis for Fred Smeijers’ recent face, Renard.