typographic calendar

104
2 0 1 2

Upload: molly-fonaas

Post on 17-Mar-2016

228 views

Category:

Documents


0 download

DESCRIPTION

A 2012 Typographic Calendar

TRANSCRIPT

Page 1: Typographic Calendar

20

12

Page 2: Typographic Calendar
Page 3: Typographic Calendar

MAKING CONNECTIONS

A 2012 Typographic Calendar

Page 4: Typographic Calendar
Page 5: Typographic Calendar

January

Page 6: Typographic Calendar

Monday

Tuesday

Wednesday

Sunday

Thursday

Friday

Saturday

1

2

3

4 5

6

7

Page 7: Typographic Calendar

Sunday

Monday

Tuesday Wednesday

J8

9

10 11Thursday

12Friday

13Saturday

14

Page 8: Typographic Calendar

15 16

18

19

20

21

17

Monday

Wednesday

Sunday

Friday

Saturday

Tuesday

Thursday

Page 9: Typographic Calendar

22

24

25

26

27 28

23Tuesday

Wednesday

Sunday

Saturday

Monday

Thursday

Friday

J

Page 10: Typographic Calendar

Monday

Tuesday

Wednesday

Sunday

Thursday

Friday

Saturday

29

30

31

1 2

3

4

J

Page 11: Typographic Calendar

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

Page 12: Typographic Calendar
Page 13: Typographic Calendar

february

Page 14: Typographic Calendar

2

3 4

29

30

31

Thursday

Friday Saturday

Monday

Tuesday

Sunday

Wednesday

1

Page 15: Typographic Calendar

F5

6

7

8 9

10

11

Sunday

Monday

Tuesday

Wednesday Thursday

Friday

Saturday

Page 16: Typographic Calendar

Monday

Sunday

Thursday

Friday

Tuesday

Wednesday

Saturday

12

13

14

15 16

17

18

Page 17: Typographic Calendar

Sunday

Tuesday

Wednesday

Monday19

20 21

22

23

24

25

Thursday

Friday

Saturday

F

Page 18: Typographic Calendar

26

27

28

29 1

2

3

Monday

Sunday

Tuesday

Wednesday Thursday

Friday

Saturday

F

Page 19: Typographic Calendar

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

Page 20: Typographic Calendar
Page 21: Typographic Calendar

March

Page 22: Typographic Calendar

1

2

3

26

Thursday

Friday

Saturday

Sunday Monday

Tuesday

Wednesday

27

28

29

Page 23: Typographic Calendar

4

7

8

9

M5

6

10

Sunday

Wednesday

Thursday

Friday

Tuesday

Monday

Saturday

Page 24: Typographic Calendar

Thursday

Sunday

Monday

Tuesday Wednesday

Friday

Saturday

11

13 14

15

16

12

17

Page 25: Typographic Calendar

Sunday

Monday

Tuesday

Friday Saturday

Wednesday

Thursday

18

19

20

21

22

23 24

M

Page 26: Typographic Calendar

MThursday

Sunday

Monday

Tuesday Wednesday

Saturday

25

26

27 28

29

31

Friday

30

Page 27: Typographic Calendar

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.

Page 28: Typographic Calendar
Page 29: Typographic Calendar

April

Page 30: Typographic Calendar

1

2

3

4

5

6 7

Sunday

Tuesday

Wednesday

Thursday

Friday Saturday

Monday

Page 31: Typographic Calendar

A

8

9

10

11

Sunday

Monday

Tuesday

Wednesday

Friday

Saturday

Thursday

1213

14

Page 32: Typographic Calendar

15

16

17 18

19

20

21

Sunday

Thursday

Saturday

Monday

Tuesday Wednesday

Friday

Page 33: Typographic Calendar

22

23

Sunday

Monday

Wednesday

ThursdayFriday

Saturday

Tuesday

24

25

26 27

28

A

Page 34: Typographic Calendar

29 30

1

2

Sunday Monday

Tuesday

Friday

Saturday

Wednesday

Thursday

3

4

5

A

Page 35: Typographic Calendar

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

Page 36: Typographic Calendar
Page 37: Typographic Calendar

May

Page 38: Typographic Calendar

1

2 3

4

5

29

30Tuesday

Wednesday Thursday

Friday

Saturday

Sunday

Monday

Page 39: Typographic Calendar

M

6

7

8

11 12

9

10

Sunday

Monday

Tuesday

Friday Saturday

Wednesday

Thursday

Page 40: Typographic Calendar

13

14

15

16

17 18

19

Sunday

Monday

Wednesday

Friday

Tuesday

Thursday

Saturday

Page 41: Typographic Calendar

20

21

22

23

24 25

26

Sunday

Wednesday

Thursday

Monday

Tuesday

Friday

Saturday

M

Page 42: Typographic Calendar

27

28

29

30

31 1

2

Sunday

Monday

Wednesday

Tuesday

Thursday Friday

Saturday

M

Page 43: Typographic Calendar

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

Page 44: Typographic Calendar
Page 45: Typographic Calendar

June

Page 46: Typographic Calendar

1

2

27 28

29

30

31Friday

Saturday

Sunday Monday

Wednesday

Tuesday

Thursday

Page 47: Typographic Calendar

J

3

45

6

7

8

9

Sunday

Monday

Wednesday

Tuesday

Thursday

Friday

Saturday

Page 48: Typographic Calendar

Sunday

MondayTuesday

Wednesday

Thursday

Saturday

Friday

10

1112

13

14

15

16

Page 49: Typographic Calendar

20

Wednesday

Sunday

Monday

Tuesday

Friday

Saturday

Thursday

17

18

19

21 22

23JJ

Page 50: Typographic Calendar

Sunday

Monday

Tuesday Wednesday

Thursday

Saturday

Friday

24

25

26 27

28

29

30J

Page 51: Typographic Calendar

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

Page 52: Typographic Calendar
Page 53: Typographic Calendar

July

Page 54: Typographic Calendar

Sunday

Monday Tuesday

Wednesday

Thursday

Friday

Saturday

1

2 3

4

5

6

7

Page 55: Typographic Calendar

Sunday

Monday

Tuesday Wednesday

Thursday

Friday

Saturday

J8

9

10 11

12

13

14

Page 56: Typographic Calendar

15

16

17 18

19

20

21

Sunday

Monday

Tuesday Wednesday

Thursday

Friday

Saturday

Page 57: Typographic Calendar

22

23

24 25

26

Sunday

Tuesday Wednesday

Thursday

Saturday

Monday

Friday

27

28

J

Page 58: Typographic Calendar

29

30

31

1

Sunday

Tuesday

Wednesday

Friday Saturday

Monday

Thursday

2

3 4

J

Page 59: Typographic Calendar

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

Page 60: Typographic Calendar
Page 61: Typographic Calendar

August

Page 62: Typographic Calendar

1

2 3

4

29

31

30

Wednesday

Thursday Friday

Saturday

Sunday

Tuesday

Monday

Page 63: Typographic Calendar

A5

6 7

8

9

10

11

Sunday

Monday Tuesday

Wednesday

Thursday

Saturday

Friday

Page 64: Typographic Calendar

12

13

14

15 16

17

18

Sunday

Thursday

Friday

Monday

Tuesday

Wednesday

Saturday

Page 65: Typographic Calendar

19

20 21

22

23

24

25

Sunday

Tuesday

Thursday

Friday

Monday

Wednesday

Saturday

A

Page 66: Typographic Calendar

26

27

28

29 30

31

1

Sunday

Thursday

Friday

Monday

Tuesday

Wednesday

Saturday

A

Page 67: Typographic Calendar

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

Page 68: Typographic Calendar
Page 69: Typographic Calendar

September

Page 70: Typographic Calendar

1Saturday

Sunday

Thursday Friday

Monday

Tuesday

Wednesday

26

27

28

29

30 31

Page 71: Typographic Calendar

S

2

3

4

5 6

7

8

Sunday

Monday

Tuesday

Wednesday Thursday

Friday

Saturday

Page 72: Typographic Calendar

Sunday

Monday Tuesday

Wednesday

Thursday

Friday

Saturday

9

10 11

12

13

14

15

Page 73: Typographic Calendar

Sunday

Wednesday

Thursday Friday

Saturday

Monday

Tuesday

16

17

18

19

20 21

22

S

Page 74: Typographic Calendar

Sunday

Monday Tuesday

Wednesday

Thursday

Friday

Saturday

25

26

27

28

23

24

29

S

Page 75: Typographic Calendar

Sunday

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

Page 76: Typographic Calendar
Page 77: Typographic Calendar

October

Page 78: Typographic Calendar

1

3

4 5

2

6

30Sunday

Monday

Tuesday

Thursday Friday

Saturday

Wednesday

Page 79: Typographic Calendar

Sunday

Monday

Tuesday

Wednesday Thursday

Friday

Saturday

7

8

9

10 11

12

13

O

Page 80: Typographic Calendar

14

15

16

17

18 19

20

Sunday

Monday

Tuesday

Wednesday

Thursday Friday

Saturday

Page 81: Typographic Calendar

O

21

22

23

24 25

26

Sunday

Monday

Wednesday Thursday

Friday

Tuesday

Saturday

27

Page 82: Typographic Calendar

Sunday Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

28 29

30

31

1

2

3

O

Page 83: Typographic Calendar

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

Page 84: Typographic Calendar
Page 85: Typographic Calendar

November

Page 86: Typographic Calendar

1

2 3

28

29

30

31Thursday

Friday Saturday

Sunday

Monday

Tuesday

Wednesday

Page 87: Typographic Calendar

N

4

5

8 9

10

6

7

Sunday

Monday

Thursday Friday

Saturday

Tuesday

Wednesday

Page 88: Typographic Calendar

11

12

13

14

15

16 17

Sunday

Monday

Tuesday

Wednesday

Friday Saturday

Thursday

Page 89: Typographic Calendar

18

19

20

21

22

23 24

Sunday

Monday

Tuesday

Thursday

Friday

Wednesday

Saturday

N

Page 90: Typographic Calendar

25

26

27

28

29

30 1

Sunday

Monday

Tuesday

Wednesday

Friday

Thursday

Saturday

N

Page 91: Typographic Calendar

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

Page 92: Typographic Calendar
Page 93: Typographic Calendar

December

Page 94: Typographic Calendar

1

Saturday

Sunday

Monday

Tuesday

Wednesday

Friday

Thursday

25

26

27

28 29

30

Page 95: Typographic Calendar

D

2

3

4

5

6 7

8

Sunday

Tuesday

Friday

Saturday

Monday

Wednesday

Thursday

Page 96: Typographic Calendar

Sunday

Monday

Tuesday Wednesday

Thursday

Friday

Saturday

9

10

11 12

13

14

15

Page 97: Typographic Calendar

Sunday

Tuesday

Wednesday

Thursday Friday

Saturday

Monday16

17

18

19

20 21

22 D

Page 98: Typographic Calendar

23

24

25 26

27

28

29

Sunday

Monday

Tuesday Wednesday

Thursday

Friday

Saturday

D

Page 99: Typographic Calendar

Sunday

Monday

31

30

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

Page 100: Typographic Calendar

January February

May June

September October

1

8

15

22

29

2

9

16

23

30

3

10

17

24

31

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

3

10

17

24

4

11

18

25

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

30

3

10

17

24

31

4

11

18

25

5

12

19

26

3

10

17

24

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

30

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

2

9

16

3

10

17

24

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

7

14

21

28

1

8

15

22

29

2

9

16

23

30

3

10

17

24

31

4

11

18

25

5

12

19

26

6

13

20

272330

Page 101: Typographic Calendar

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

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

30

3

10

17

24

31

1

8

15

22

29

2

9

16

23

30

3

10

17

24

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

30

3

10

17

24

31

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

30

3

10

17

24

4

11

18

25

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

29

2

9

16

23

30

3

10

17

24

2

9

16

3

10

17

4

11

18

25

5

12

19

26

6

13

20

27

7

14

21

28

1

8

15

22

292330

2431

Page 102: Typographic Calendar

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

Page 103: Typographic Calendar
Page 104: Typographic Calendar

The word is a sign or symbol of the impress ions or affections of the soul . -Ar istot le

“”