Resolutions 2012: In one year, out the other

in one year

out the other

2012RESOLUTIONS>

>

in one year out the other

Devin Miller

{ }2012RESOLUTIONS

J

MON

TUES

WED

THURS

FRI

2

3

4

5

6

71SATSUN

JAN

UA

RY

MON

TUES

WED

THURS

FRI

9

10

11

12

13

148SATSUN

MON

TUES

WED

THURS

FRI

16

17

18

19

20

2115SATSUN

JAN

UA

RY

MON

TUES

WED

THURS

FRI

23

24

25

26

27

2822SATSUN

MON

TUES

WED

THURS

FRI

30

31

1

2

3

429JA

NU

AR

Y

SATSUN

In 1931 Monotype made this facsimile of the

typeface cut originally for John Bell by Richard

Austin in 1788, using as a basis the matrices

in the possession of Stephenson Blake & Co.

Used in Bell’s newspaper, “The Oracle,” it was

regarded by Stanley Morison as the first

English Modern face. Although inspired by French

punchcutters of the time, with a vertical stress

and fine hairlines, the face is less severe than the

French models and is now classified as Transitional.

Essentially a text face, Bell can be used for books,

magazines, long articles etc.

Born in London, Richard Austin trained

as a wood-engraver with Thomas Bewick.

In 1788 he joined the British Letter

Foundry of publisher John Bell as a

punch-cutter. Influenced by Bell’s

enthusiasm for contemporary French

types, Austin, a skillful cutter, produced

a very sharply serifed letter which

Stanley Morison was to call the first

English modern face. The type retains

some old-style characteristics and

should more properly be called a late

transitional. Austin went on to cut

true moderns and later, in 1819,

after starting a foundry of his own,

he outlined the dangers of such designs

being taken to extremes.

BE

LL

MT

Richard Austin 1768–1830

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz& 0123456789

F

MON

TUES

WED

THURS

FRI

30

31

1

2

3

SAT3

SUN29

FE

BR

UA

RY

MON

TUES

WED

THURS

FRI

6

7

8

9

10

115SUN SAT

MON

TUES

WED

13

14

15

16

17

THURS

FRI

SAT18

SUN12

FE

BR

UA

RY

MON

TUES

WED

THURS

FRI

20

21

22

23

24

2519SATSUN

MON

TUES

WED

27

28

29

1

2

THURS

FRI

SAT3

SUN26

FE

BR

UA

RY

William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType Pro version merges formerly separate fonts (expert, etc.), and adds both central European language support and several additional ligatures. Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications.

Born in London, Richard Austin trained

as a wood-engraver with Thomas Bewick.

In 1788 he joined the British Letter

Foundry of publisher John Bell as a

punch-cutter. Influenced by Bell’s

enthusiasm for contemporary French

types, Austin, a skillful cutter, produced

a very sharply serifed letter which

Stanley Morison was to call the first

English modern face. the type retains

some old-style characteristics and should

more properly be called a late transitional.

Austin went on to cut true moderns and

later, in 1819, after starting a foundry

of his own, he outlined the dangers of

such designs being taken to extremes.

AD

OB

E

CA

SLO

N P

RO

William Caslon (1692–1766) Carol Twombly (1959–)


M

MON

TUES

WED

27

28

29

1

2

THURS

FRI

SAT3

SUN26

MA

RC

H

MON

TUES

WED

5

6

7

8

9

THURS

FRI

SUN SAT104

MON

TUES

WED

12

13

14

15

16

THURS

FRI

SAT17

SUN11

MA

RC

H

MON

TUES

WED

19

20

21

22

23

THURS

FRI

SUN SAT2418

MON

TUES

WED

26

27

28

29

30

THURS

FRI

SAT31

SUN25

MA

RC

H

Designed by Eric Gill and released by the Monotype Corporation

between 1928 and 1930, Gill Sans is based on the typeface

Edward Johnston, the innovative British letterer and teacher,

designed in 1916 for the signage of the London Underground.

Gill’s alphabet is more classical in proportion and contains his

signature flared capital R and eyeglass lowercase g. With distinct

roots in pen-written letters, Gill Sans is classified as a humanist

sans serif, making it very legible and readable in text and display

work. The condensed, bold, and display versions are excellent

for packaging or posters.

Arthur Eric Rowton Gill, letter-cutter,

sculptor, wood-engraver and type

designer, was one of the most

prominent and controversial figures

of his day. Born in Brighton, Gill

studied at Chichester School of

Art before being apprenticed to an

ecclesiastical architect in London.

Whilst there he attended the classes

of the calligrapher Edward Johnston

at the Central School of Arts and Crafts.

Thus he became involved in the small

world of scribes and illuminators

and the Arts and Crafts Movement,

embarking on a career as a stone

cutter and letterer.

Continued, see July

GIL

L SA

NS

Eric Gill (1882–1940)


A

MON

TUES

WED

2

3

4

5

6

THURS

FRI

SAT7

SUN1

AP

RIL

MON

TUES

WED

9

10

11

12

13

THURS

FRI

SATSUN148

MON

TUES

WED

16

17

18

19

20

THURS

FRI

SAT21

SUN15

AP

RIL

MON

TUES

WED

23

24

25

26

27

THURS

FRI

SATSUN2822

MON

TUES

WED

30

1

2

3

4

THURS

FRI

SAT5

SUN29

AP

RIL

William Caslon released his first typefaces in 1722. Caslon’s

types were based on seventeenth-century Dutch old style

designs, which were then used extensively in England.

Because of their remarkable practicality, Caslon’s designs

met with instant success. Caslon’s types became popular

throughout Europe and the American colonies; printer

Benjamin Franklin hardly used any other typeface. The first

printings of the American Declaration of Independence and

the Constitution were set in Caslon. For her Caslon revival,

designer Carol Twombly studied specimen pages printed

by William Caslon between 1734 and 1770. The OpenType

Pro version merges formerly separate fonts (expert, etc.),

and adds both central European language support and

several additional ligatures. Ideally suited for text in

sizes ranging from 6- to 14-point, Adobe Caslon Pro is the

right choice for magazines, journals, book publishing,

and corporate communications.

Frederic Goudy, one of the best-known

and most prolific of type designers,

designed, by his own reckoning, 123

faces. Born in Bloomington, Illinois, he

worked in various cities before founding

the Booklet Press in Chicago in 1895

with equipment bought from Will Bradley.

The sale of a set of capitals of his own

design to the Bruce Type Foundry,

Boston, encouraged him to become

a freelance lettering artist. Goudy’s

breakthrough with type design came in

1911. He designed Kennerley Old Style

for the publishers Mitchell Kennerley on

the understanding that he could sell it

to the trade. He set up the Village Letter

Foundry to cast and sell Kennerley and a

titling font, Forum. These established his

reputation, and American Type Founders

commissioned Goudy Old Style, regarded

as one of his finest designs.

GO

UD

Y

OL

D S

TY

LE

Frederic W. Goudy (1865–1947)


M

MON

TUES

WED

30

1

2

3

4

THURS

FRI

SAT5

SUN29

MA

Y

MON

TUES

WED

7

8

9

10

11

THURS

FRI

SATSUN126

MON

TUES

WED

14

15

16

17

18

THURS

FRI

SAT19

SUN13

MA

Y

MON

TUES

WED

21

22

23

24

25

THURS

FRI

SATSUN2620

MON

TUES

WED

28

29

30

31

1

THURS

FRI

SAT2

SUN27

MA

Y

Minion Pro is an Adobe Original typeface designed by Robert

Slimbach. The first version of Minion was released in 1990.

Cyrillic additions were released in 1992, and finally the OpenType

Pro version was released in 2000. Minion Pro is inspired by

classical, old style typefaces of the late Renaissance, a period of

elegant, beautiful, and highly readable type designs. Minion Pro

combines the aesthetic and functional qualities that make text

type highly readable with the versatility of OpenType digital

technology, yielding unprecedented flexibility and typographic

control, whether for lengthy text or display settings. The full

Minion Pro family contains three weights and two widths, each

with optical size variants, and each supporting a full range of

Western languages, including Greek and Cyrillic. With its many

ligatures, small caps, oldstyle figures, swashes, and other added

glyphs, Minion Pro is ideal for uses ranging from limited-edition

books to newsletters to packaging.

Robert Slimbach, who was born in

Evanston, Illinois, received his training

and early experience of type design in the

drawing office of Autologic in California.

In 1987, after two years of self-

employment, which saw him contribute

ITC Slimbach and ITC Giovanni to the

International Typeface Corporation, he

joined Adobe Systems.

Continued, see September

MIN

ION

PR

O

Robert Slimbach (1956)


J

MON

TUES

WED

28

29

30

31

1

THURS

FRI

227SATSUN

JU

NE

MON

TUES

WED

4

5

6

7

8

THURS

FRI

93SATSUN

MON

TUES

WED

11

12

13

14

15

THURS

FRI

1610SATSUN

JU

NE

MON

TUES

WED

18

19

20

21

22

THURS

FRI

2317SATSUN

MON

TUES

WED

25

26

27

28

29

THURS

FRI

JU

NE

3024SATSUN

The history of Helvetica includes a number of twists and turns. There are,

in fact, two versions of Helvetica. The first one is the original design,

which was created by Max Miedinger and released by Linotype in 1957.

And secondly, in 1983, D. Stempel AG, Linotype’s daughter company,

released the Neue Helvetica® design, which was a re-working of the

1957 original. The outcome was a synthesis of aesthetic and technical

refinements and modifications that resulted in improved appearance,

legibility and usefulness.

Max Miedinger, born in Zurich, was an

in-house designer with the Haas foundry in

Munchenstein, Switzerland. His most famous

typeface is Helvetica, currently one of the

most widely used sans serifs, which was

designed in 1956. Edward Hoffman of Haas

had asked Miedinger to adapt the existing

Haas Grotesk to bring it in line with current

taste. Haas Grotesk had its origins in the 19th-

century German grotesques like Berthold’s

Akzidenz-Grotesk. The type, which was

created from Miedinger’s china-ink drawings,

seemed like a new design in its own right,

rather than an old one with minor retouching

as had been the original plan. Although

designed for the home market, the then-

called Neue Haas Grotesk proved popluar

farther afield. When Stempel AG in Germany

released the face in 1961 they called it

Helvetica, the traditional Latin name for

Switzerland, in order to capitalize on the

fashion for Swiss typography. Additional

weights were added to the Helvetica family

over the years. In 1983 Linotype released a

new, more extensive version, Neue Helvetica,

in 51 weights.

HE

LVE

TIC

A

NE

UE

Max Miedinger (1910–1980)

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghi jklmnopqrstuvwxyz& 0123456789

J

MON

TUES

WED

2

3

4

5

6

THURS

FRI

SAT7

SUN1

JULY

MON

TUES

WED

9

10

11

12

13

THURS

FRI

SATSUN148

MON

TUES

WED

16

17

18

19

20

THURS

FRI

SAT21

SUN15

JULY

MON

TUES

WED

23

24

25

26

27

THURS

FRI

SATSUN2822

MON

TUES

WED

30

31

1

2

3

THURS

FRI

SAT4

SUN29

JULY

Type designer Eric Gill’s most popular Roman typeface is

Perpetua, which was released by the Monotype Corporation

between 1925 and 1932. It first appeared in a limited edition of

the book The Passion of Perpetua and Felicity, for which the

typeface was named. The italic form was originally called Felicity.

Perpetua’s clean chiseled look recalls Gill’s stonecutting work and

makes it an excellent text typeface, giving sparkle to long passages

of text; the Perpetua capitals have beautiful, classical lines that

make this one of the finest display alphabets available.

Continued from March

Gill designed his first typeface at the

invitation of Stanley Morison of the

Monotype Corporation. The drawings for

the type, Perpetua, were begun in 1925.

Gill Sans, designed during the same period,

was based on the same sources as the Johnston

Sans Serif. Gill had painted san-serif lettering

on the Douglas Cleverdon’s Bristol Bookshop

in 1927 and it was this that suggested the idea

of a Gill sans serif to Morison. Joanna was

cut by the Caslon foundry; one of its first

uses in 1931 was for Gill’s own Essay on

Typography. These three typefaces are from

his most creative period.

PER

PET

UA

Eric Gill (1882–1940)


A

MON

TUES

WED

30

31

1

2

3

THURS

FRI

429SATSUN

AU

GU

ST

MON

TUES

WED

6

7

8

9

10

THURS

FRI

115SATSUN

MON

TUES

WED

13

14

15

16

17

THURS

FRI

1812SATSUN

AU

GU

ST

MON

TUES

WED

20

21

22

23

24

THURS

FRI

2519SATSUN

MON

TUES

WED

27

28

29

30

31

THURS

FRI

AU

GU

ST

126SATSUN

Franklin Gothic, one of the most popular sans serif types

ever produced, was designed by Morris Fuller Benton in

1902 for American Type Founders. In 1979, under license

with ATF, Vic Caruso began work on more weights of the

design for ITC. This version adheres closely to the subtle

thick and thin pattern of the original design; the slightly

enlarged x-height and condensed proportions of the new

version result in greater economy of space. This typeface is

a standard choice for use in newspapers and advertising. In

1991, David Berlow completed the family for ITC by creating

compressed and condensed weights. ITC Franklin Gothic

Compressed is designed especially to solve impossibly

tight copyfitting problems, while maintaining high legibility

standards. ITC Franklin Condensed provides medium weights

of narrow proportions. It is frequently seen in newspapers,

advertisements, posters, and anyplace with space restrictions.

Morris Fuller Benton is accredited with being

the most prolific type designer in American

history, with an output twice as great as

that of Frederic Goudy (although in fairness

Goudy did not start his career until a later

age). A factor in his relative anonymity was

his position as an in-house designer, but in

a position that suited his retiring character:

when pressed he would put his successes

down to ‘Lady Luck’.

Continued, see November

FRA

NK

LIN

G

OTH

IC

Morris Fuller Benton 1872–1948

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghi jk lmnopqrstuvwxyz& 0123456789

S

MON

TUES

WED

27

28

29

30

31

THURS

FRI

126SATSUN

SEP

TE

MB

ER

MON

TUES

WED

3

4

5

6

7

THURS

FRI

82SATSUN

MON

TUES

WED

10

11

12

13

14

THURS

FRI

159SATSUN

SEP

TE

MB

ER

MON

TUES

WED

17

18

19

20

21

THURS

FRI

2216SATSUN

MON

TUES

WED

24

25

26

27

28

THURS

FRI

SEP

TE

MB

ER 2923/30

SATSUN

An Adobe Originals design, and Adobe’s first historical

revival, Adobe Garamond is a digital interpretation of the

roman types of Claude Garamond and the italic types of

Robert Granjon. Since its release in 1989, Adobe Garamond

has become a typographic staple throughout the world of

desktop typography and design. Adobe type designer Robert

Slimbach has captured the beauty and balance of the original

Garamond typefaces while creating a typeface family that

offers all the advantages of a contemporary digital type family.

With the introduction of OpenType font technology, Adobe

Garamond has been reissued as a Pro type family that takes

advantage of OpenType’s advanced typographic capabilities.

Now this elegant type family can be used with even greater

efficiency and precision in OpenType-savvy applications such

as Adobe InDesign.

Continued from May

Since then, he has been designing and

developing typefaces for the Adobe Originals

program. Slimbach’s typefaces offer type users

a rich palette of designs, mostly for text use,

based on his enthusiasm for classic letter

forms. In 1999 he received the Prix Charles

Peignot from the Association Typographique

Internationale for excellence in type design.

AD

OB

EG

AR

AM

ON

D

Claude Garamond Robert Slimbach


O

MON

TUES

WED

1

2

3

4

5

THURS

FRI

630SUN SAT

OC

TOB

ER

MON

TUES

WED

8

9

10

11

12

THURS

FRI

137SATSUN

MON

TUES

WED

15

16

17

18

19

THURS

FRI

2014SUN SAT

OC

TOB

ER

MON

TUES

WED

22

23

24

25

26

THURS

FRI

2721SATSUN

MON

TUES

WED

29

30

31

1

2

THURS

FRI

OC

TOB

ER

328SUN SAT

An Adobe Originals design first released in 1992, Myriad has

become popular for both text and display composition. As an

OpenType release, Myriad Pro expands this sans serif family

to include Greek and Cyrillic glyphs, as well as adding oldstyle

figures and improving support for Latin-based languages.

The full Myriad Pro family includes condensed, normal, and

extended widths in a full range of weights. Designed by Robert

Slimbach & Carol Twombly with Fred Brady & Christopher

Slye, Myriad has a warmth and readability that result from the

humanistic treatment of letter proportions and design detail.

Myriad Pro’s clean open shapes, precise letter fit, and extensive

kerning pairs make this unified family of roman and italic

an excellent choice for text typography that is comfortable

to read, while the wide variety of weights and widths in the

family provide a generous creative palette for even the most

demanding display typography.

Carol Twombly studied design at the

Rhode Island School of Design, where

she became interested in type design

and typography. She received an MS

from Stanford University in the graduate

programme of digital typography

under Charles Bigelow, and later

joined the Bigelow & Holmes Studio.

In the Morisawa Typeface Design

Competition in 1984 she won first

prize for Mirarae, a Latin design which

has since been licensed and released.

A member of the Adobe type studio

since 1988, Twombly has designed

many successful display and text

typefaces for the Adobe Originals library.

In 1994 she was the first woman to

receive from ATypI the Prix Charles

Peignot for outstanding contributions

to type design.

MYR

IAD

PRO

Robert Slimbach Carol Twombly


N

MON

TUES

WED

29

30

31

1

2

THURS

FRI

328SATSUN

NO

VE

MB

ER

MON

TUES

WED

5

6

7

8

9

THURS

FRI

10SATSUN

4

MON

TUES

WED

12

13

14

15

16

THURS

FRI

1711N

OV

EM

BE

R

SATSUN

MON

TUES

WED

19

20

21

22

23

THURS

FRI

24SATSUN

18

MON

TUES

WED

26

27

28

29

30

THURS

FRI

NO

VE

MB

ER 125

SATSUN

CE

NT

UR

YS

CH

OO

LB

OO

K


Another version of the Century family was produced when

Ginn & Company, a textbook publisher, commissioned

American Type Founders to design a typeface with

maximum legibility. Morris Benton researched the

subjects of eyesight and legibility, then created Century

Schoolbook, which was released between 1918 and 1921.

Century Schoolbook is still seen in elementary school

texts, and can be used for text work where legibility is

a primary consideration.

Continued from August

Benton has been credited with inventing

the concept of the type family and

although this is not the case he did do his

best work expanding faces into families

and adapting existing type styles for

ATF. Between 1900 and 1928 he designed

18 variations on Century, including the

popular Century Schoolbook.

Morris Fuller Benton 1872–1948

D

MON

TUES

WED

26

27

28

29

30

THURS

FRI

125SATSUN

DE

CE

MB

ER

MON

TUES

WED

3

4

5

6

7

THURS

FRI

8SATSUN

2

MON

TUES

WED

10

11

12

13

14

THURS

FRI

159SATSUN

DE

CE

MB

ER

MON

TUES

WED

17

18

19

20

21

THURS

FRI

22SATSUN

16

MON

TUES

WED

24/31

25

26

27

28

THURS

FRI

2923/30SATSUN

DE

CE

MB

ER

CEN

TUR

YG

OTH

IC

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghi jk lmnopqrstuvwxyz& 0123456789

Century Gothic Regular fonts maintains the basic design of

20th Century but has an enlarged ‘x’ height and has been

modified to ensure satisfactory output from modern digital

systems. A design based on 20th Century, which was drawn

by Sol Hess between 1936 and 1947. The Century Gothic

Fonts Regular design is influenced by the geometric style

sans serif faces which were popular during the 1920’s and

30’s. Century Gothic Fonts Regular is useful for headlines

and general display work and for small quantities of text,

particularly in advertising.

For 50 Years Sol Hess was art director

of Lanston Monotype Machinery Co.,

where he succeeded his friend and

collaborator F W Goudy. He started

with the company in 1902 after a three-

year scholarship course at Pennsylvania

Museum School of Industrial Art, and

as a type designer there he redrew and

readapted all their typographical ma-

terials. His forte was the development

of type families, and during his years

with Lanston monotype he carried

out commissions for many leading

American companies, including Curtis

Publishing, Crowell-Collier, Sears Roebuck,

Montgomery Ward, Yale University Press

and World Publishing Company.

Sol Hess 1886–1953

J

A

F M

M

J

O N D

A S

J

JANUARY

FEBRUARY

MARCH

APRIL

MAY

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

RESOLUTIONS

2013I will drink less.

I will quit smoking.

I will eat healthier.

I will spend less money.

I will cook more.

I will stop spoiling my pet.

I will conserve

I will take more vacations.

I will drop my bad habit.

I will be less forgetful.

I will get a better education.

I will get tight and toned.

2012

DESIGN

Devin Miller

TITLE PAGE IMAGES

Devin Miller

INFLUENCES

Thinking withType

by Ellen Lupton

RE

FE

RE

NC

ES

TYPEFACE HISTORIES

adobe.com

itcfonts.com (Helvetica Neue)

ascenderfonts.com (Century Gothic)

TYPEFACE DESIGNER BIOS

An A-Z of Type Designers By Neil Macmillan

DESIGNER PHOTOS

Linotype

Ascender Fonts (Bell)

Identifont (Slimbach)

Documents

Resolutions 2012: In one year, out the other