used freelance designers, like Will Bradley, T.M. Cleland, Walter Dorwin Teague, Frederic Goudy, and Oz Cooper, the bulk of ATF's catalog through the 1930s was developed in-house, under the direction of Morris Fuller Benton. Under Benton’s direction, the company embarked on a program of developing historical revivals, including ATF’s versions of Bodoni and Garamond, as well as the development of new typefaces such as Century and (most successfully) Cheltenham, which for the first time were organized systematically into “type families” with a schedule of styles such as weight or width. Another key player at the ATF Co. at this time was the advertising manager (and informal company historian) Henry Lewis Bullen, who in 1908 began assembling a library of historical typography and type specimen books for designers to draw upon. This collection was turned over to Columbia University's Rare Book and Manuscript Library in 1936, and acquired by the university in 1941. The books form the core of the book arts collection at Columbia. There is also an archive of ATF materials in Columbia's special collections. In 1901, Nelson consolidated casting operations in a purpose-built factory in Jersey City and the branches remained only as distribution centers. By the 1920s, ATF had offices in 27 American cities and Vancouver, British Columbia, where it sold not only type, but pressroom supplies and printing presses (their own Kelly line and those of other manufacturers) as well. It printed large specimen books, with many examples of good layout as examples for the advertising market. In 1923, at a cost of $300,000, ATF produced its largest and most superlative type catalog. Sixty thousand of these opulent books, printed extensively in color, were distributed, and to this day they are considered to be masterpieces of the art of letterpress printing. The first paragraph of its preface boasted: The printing of 1923 is greatly superior to that of 1900. It has better style, more attractiveness and greater power and dignity...This great improvement has not come to pass without direction. There has been, in fact, very deliberate direction. There has been constant and forward thinking on behalf of the printing industry by the American Type Founders Company, which has a well defined policy with regard to the types it is making and has been making during the last quarter century. In what position, may we ask, would the printing industry be to-day without the great type families,