Typographic Calendar

Calendar201 2Typographic

Calendar201 2Typographic

January

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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.

Century School Book

Morris Fuller Benton1872-1948 USA

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’. 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.

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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.

Franklin Gothic

Morris Fuller Benton1872-1948 USA (see January for bio)

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In 1915, Frederic W. Goudy designed Goudy Old Style, his twenty-fifth typeface,

and his first for American Type Founders. Flexible enough for both text and display,

it’s one of the most popular typefaces ever produced, frequently used for packaging

and advertising. Its recognizable features include the diamond-shaped dots on i,

j, and on punctuation marks; the upturned ear of the g; and the base of E and L.

Several years later, in response to the overwhelming popularity of Cooper Black,

Lanston Monotype commissioned Frederic W. Goudy to design heavy versions of

Goudy Old Style. Goudy Heavyface and Goudy Heavyface Italic were released in

1925. The huge success of Goudy’s typefaces led to the addition of several weights

to many of his typefaces; designers working for American Type Founders produced

additions to the family. In 1927, Morris Fuller Benton drew Goudy Extra Bold.

Goudy Old Style

Frederic W. Goudy1865-1947 USA

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.

April


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ABCDEFGHIJKLMEric Gill1882–1940 GB


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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. 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.

Gill Sans MT

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.

May


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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.

Minion Pro

Robert Slimbach1956 USA

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. 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 Inter-nationale for excellence in type design.

June


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2012JuneSunday Sunday Mon day Wedn esday Thursday Thursday Fri day Saturday SaturdayTuesdayTuesday

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Carol Twombly1959 USA 0123456789

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.

Myriad Pro

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.

Robert Slimbach1956 USA (See May for bio)

July


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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.

Perpetua

Eric Gill1882–1940 GB (see April for bio)

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Max Miedinger1910-1980 CH

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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.

Helvetica

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.

September

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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.

Adobe Caslon Pro

William Caslon1692-1766 GB

William Caslon I was the first British typefounder of any renown and was responsible for ending the dependence of British printers on imported Dutch types which (with some French types) had dominated the market throughout the 17th century. Born in Worcestershire, William Caslon began his career in London engraving and chasing gun barrels (occasionally also cutting brass letters for bookbinders) until a printer called William Bowyer, after seeing some of his letters, encouraged him to try punch-cutting. Bowyer lent him €500 to start his own foundry, which he opened in London’s Vine Street probably in 1722 or 1723. In 1734 the foundry moved to Chiswell Street, where Caslon published his famous specimen sheet showing a full range of the roman types he cut. His work found particular favour in America, and Caslon type was used by Mary Katherine Goddard of Baltimore for printing the Declaration of Independence.

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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.

Adobe Garamond Pro

Robert Slimbach1956 USA (see June for Bio)

Claude Garamond

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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.

Century Gothic

Sol Hess1886-1953 USA

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 couse

at Pennsylvania Museum School of

Industrial Art, and as a type designer

there he redrew and readapted

all their typographical materials.

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.

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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.

Bell MT

Richard Austin1768-1830 GB

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.

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Tia Fossen

Typeface Histories adobe.com itcfonts.com (Helvetica Neue) ascenderfonts.com (Century Gothic)

Typeface Designer BiosAn A-Z of Type Designers By Neil Macmillan

Designer PhotosLinotype Ascender Fonts (Bell) Identifont (Slimbach)

Photographer Tia Fossen

Thinking withType by Ellen Lupton

Design

References

Title Page Images

Influences

Documents

Typographic Calendar