typographic calendar
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A 2012 Typographic CalendarTRANSCRIPT
20
12
MAKING CONNECTIONS
A 2012 Typographic Calendar
January
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Tuesday
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23Tuesday
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Franklin Gothic, one of the most
p o p u l a r s a n s s e r i f t y p e s e v e r
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 Frankl in Gothic Compressed
i s d e s i g n e d e s p e c i a l l y to s o l ve
impossibly tight copyfitting problems,
while maintaining high legibi l i ty
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’. 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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Franklin GothicDesigner: Morris Benton (1872–1948)
Morris Fuller Benton
february
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3 4
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F
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
a n d l e g i b i l i t y , t h e n c r e a t e d
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
i s a p r i m a r y c o n s i d e r a t i o n .
See the Month of January for Morris Fuller
Benton’s biography.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Century SchoolbookDesigner: Morris Benton (1872–1948)
Morris Fuller Benton
March
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Thursday
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9
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MThursday
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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 publish‑ing, and corporate communications.
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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Adobe Caslon ProDesigner: Original: William Caslon
(1692–1766), Revival: Carol Twombly (1959)
William Caslon & Carol Twombly
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.
April
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In 1915, Frederic W. Goudy designed
Goudy Old Style, his twenty - f i f th
typeface, and his first for American
Type Founder s . F l ex ib l e enough
for both text and display, i t ’ s one
o f t h e m o s t p o p u l a r t y p e f a c e s
e v e r p r o d u c e d , f r e qu e n t l y u s e d
for packaging and adver tis ing. Its
recognizable features inc lude the
diamond-shaped dots on i, j, and on
punctuat ion marks ; the upturned
ear of the g; and the base of E and
L. Severa l years la ter, 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
Heavy fa ce I t a l i c we re re l e a s ed in
1925. The huge success of Goudy’s
typefaces led to the addition of several
we i g h t s t o m a ny o f h i s t y p e f a c e s ;
d e s i g n e r s wo rk i n g fo r A m e r i c a n
Type Founders produced additions
to the family. In 1927, Morris Fuller
B e n t o n d r e w G o u d y E x t r a B o l d .
Frederic Goudy, one of the best-known and
most prol i f ic of type des igners , des igned,
by h i s own re ckon ing , 123 f a ce s . 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 Foundr y,
Boston, encouraged him to become a freelance
lettering artist. Goudy’s breakthrough with
t y p e d e s i g n c a m e i n 1911 . H e d e s i g n e d
Kenner ley Old Sty le for the publ i sher s
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 t i t l ing font, Forum. These
est abl i shed his reputat ion, and American
Type Founder s commiss ioned Goudy Old
Style, regarded as one of his f inest designs.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Goudy Old StyleDesigner: Frederic Goudy (1865–1947)
Frederic W. Goudy
May
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30Tuesday
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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.
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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Bell MTDesigner: Richard Austin (1768–1830)
Richard Austin
June
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23JJ
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30J
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. 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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Gill Sans MTDesigner: Eric Gill (1882–1940)
Eric Gill
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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.
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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Century GothicDesigner: Sol Hess (1886–1953)
Sol Hess
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Minion Pro i s an Adob e Or ig ina l
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-edit ion
books to newsletters to packaging.
Robert Slimbach, who was born in Evanston,
I l l inois , received his training and early
experience of type design in the drawing office of
Autologic in California. In 1987, after two
ye ars of s e l f -employment , w hich s aw h im
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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Minion Pro Designer: Robert Slimbach (1956)
RobertSlimbach
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The history of Helvetica includes
a number o f tw is ts and tu rns .
There are, in fact, two versions of
Helvetica. T h e f i r s t o n e i s t h e
original design, which was created
by Max Miedinger and released by
Linotype in 1957. And secondly,
in 1983, D. Stempel AG, Linotype’s
d a u g h t e r c o m p a n y, re l e a s e d
t h e N e u e H e l v e t i c a ® d e s i g n ,
which was a re-working of the
1957 original. The outcome was a
synthesis of aesthetic and technical
ref inements and modif icat ions
that resulted in improved appear-
ance, legibi l i ty and usefulness.
Max Miedinger, born in Zur ich, 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.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Helvetica NeueDesigner: Original: Max Miedinger (1910–1980), Revival: D. Stempel
(1910–1980)
Max Miedinger
30
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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 L at i n - b a s e d l a n g u a g e s. Th e f u l l 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.
See the month of August for Robert Slimbach’s
biography and the of March for Carol Twombly’s
biography.
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Myriad ProDesigners: Robert Slimbach (1956)
& Carol Twombly (1959)
Robert Slimbach & Carol Twombly
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A n A d o b e O r i g i n a l s d e s i g n , a n d 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. S i n c e i t s r e l e a s e i n 1 9 8 9 , A d o b e 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 a l l 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 prec i s ion in OpenType-savvy applications such as Adobe InDesign.
See the month of August for Robert Slimbach’s
biography..
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
Adobe Garamond ProDesigner: Original: Claude Garamond,
Revival: Robert Slimbach
Robert Slimbach
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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.
See the month of June for Eric Gill’s biography..
A B C D E F G H I J K L MN O P Q R S T U V W X Y Z
a b c d e f g h i j k l mn o p q r s t u v w x y z
& 0 1 2 3 4 5 6 7 8 9
PerpetuaDesigner: Eric Gill (1882–1940)
Eric Gill
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3
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S M T W T F S S M T W T F S
S M T W T F S S M T W T F S
S M T W T F S S M T W T F S
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7
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1
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2
9
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3
10
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4
11
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5
12
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6
13
20
272330
March April
July August
November December
S M T W T F S
S M T W T F S S M T W T F S
S M T W T F S S M T W T F S
S M T W T F S
4
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6
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1
8
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1
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6
13
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7
14
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1
8
15
22
292330
2431
DESIGNMolly Fonaas
REFERENCES
TYPEFACE HISTORIESadobe.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)
UK Auto TalkU-ARTS
TITLE PAGE IMAGESMolly Fonaas
INFLUENCESThinking withTypeby Ellen Lupton
The word is a sign or symbol of the impress ions or affections of the soul . -Ar istot le
“”