2012 typographic calendar

T Y P E12 20C A L E N D A R

NAJ 1 2

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NU

AR

Y2

01

2

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 Internationale

for excellence in type design.

Robert Slimbach

1M6

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NU

AR

Y2

01

2

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

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20

12

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.

Richard Austin

FE

BR

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RY

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12

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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.

B E L L M T


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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.

William Caslon

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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

0 1 2 3 4 5 6 7 8 9A B C D EF G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z

MA

RC

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RPA 1 2

AP

RI

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12

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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.

Morris Fuller Benton

AP

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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.

F R A N K L I NG O T H I C


AP

RI

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AM Y1 2

01

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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.

Max Miedinger

01

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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. 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.

HELVETICA


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JU

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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.

Sol Hess

20

12

JU

NE

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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.

C E N T U R YG O T H I C


20

12

JU

NE

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JU

LY

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.

Frederic Goudy

20

12

JU

LY

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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.

G O U D YO L D S T Y L E


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12

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an arthur,

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.

Eric Rowton Gill

20

21

AU

GU

ST

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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 distinctroots 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.

GILL SANS MT


20

21

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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.

Morris Fuller Benton

SE

PT

EM

BE

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10

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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.

CENTURYSCHOOLBOOK

0 1 2 3 4 5 6 7 8 9ABCDEFGHIJKLMNOPQRSTUVWYZa b c d e f g h i j k l m n o p q r s t u v w y z

SE

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TCO 1 2

OC

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BE

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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


library. In 1994 she was the first

woman to receive from ATypI the Prix

Charles Peignot for outstanding

contributions to type design.

Carol Twombly

OC

TO

BE

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01

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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


OC

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ER

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an arthur,

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.

Eric Rowton Gill

NO

VE

MB

ER

20

12

1M2

1M9

1 T 3

2 T 0

1W4

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2T 2

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2 F 3

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2 S 4

1 S 8

2 S 5

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.

P E R P E T U A


NO

VE

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ER

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12

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2W82 T 9

3 F 0

D E C1 2

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ER

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01 0M3

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0T60 F 7

0 S 1

0 S 8

0 S 2

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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


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.

Robert Slimbach

DE

CE

MB

ER

22

01

1M0

1M7

1 T 1

1 T 8

1W2

1W9

1 T 3

2T0

1F4

2 F 1

1 S 5

2 S 2

1 S 6

2 S 3

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.

A D O B E G A R A M O N D P RO


DE

CE

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ER

22

01

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DESIGNElle Benway

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 PHOTOSLinotype

Ascender Fonts (Bell) Identifont

(Slimbach)

TITLE PAGE IMAGES

Elle Benway

INFLUENCESThinking with Type

by Ellen Lupton

References

2012 typographic calendar

Documents

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s 2february2012

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