Typography Calendar

2013 Typography Calendar

2013Typography Calendar

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Richard AustinBorn 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 Frenchtypes, 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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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 MTRichard Austin 1768–1830

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

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William CaslonWilliam 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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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 Twomblystudied 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 Caslon (1692-1766) Carol Twombly (1959- ) see Myriad Pro


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Sol HessFor 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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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 GothicSol Hess (1886-1953)


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Frederic GoudyFrederic 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 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.

2013April

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 StyleFrederic Goudy (1865-1947)


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Max MiedingerMax 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..

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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. 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.

Helvetica NeueMax Miedinger (1910-1980)D. Stempel (Revivial)


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Eric GillArthur 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.

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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.

PerpetuaEric Gill (1882-1940)


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Caorl TwomblyCarol 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.

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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 ProRobert Slimbach (1956 - ) see Minion ProCarol Twombly (1959- )


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Robert SlimbachRobert 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 Internationale for excellence in type design.

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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 ProRobert Slimbach (1956 - )


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Morris BentonMorris 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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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 SchoolbookMorris Benton (1872-1948)


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Morris BentonMorris 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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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.

Franklin Gothic BookMorris Benton (1872-1948)


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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 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.

Gill Sans MTEric Gill (1882-1940) see Perpetua


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2013December

“Art is a skill, that is the first meaning of the word.” -Eric Gill

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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 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.

Gill Sans MTEric Gill (1882-1940) see Perpetua


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The name Milwaukee comes from the word “Milliocki” which means native gathering place by water.

Milwaukee is the 22nd largest city in America.

Home to Summerfest (the world’s largest outdoor music festival.)

Also know as “THE beertown.” famous for the many beers that are produced there.

Milwaukee was the first city to engineer a major league franchise shift when the Braves came to Milwaukee

The skywalk that runs over the Milwaukee River is the only skywalk in the America that spans a river used by boats.

The Milwaukee Public Museum is home to the largest dinosaur skull in the world.

Milwaukee’s first big brewery opened in 1841. By the year 1856, the city boasted 26 local breweries.

The Milwaukee born actor Gene Wilder played Willy Wonka in Willy Wonka and the Chocolate Factory.

© www.rcsinnovations.com

Milw

aukeeW

isconsin

DESIGN•

Samantha Tubbs

REFERENCES•

TYPEFACE HISTORIESadobe.com

itcfonts.com (Helvetica Neue)ascenderfonts.com (Century Gothic)

TYPEFACE DESIGNER BIOS•

An A-Z of Type Designers By Neil Macmillan

DESIGNER PHOTOS•

LinotypeAscender Fonts (Bell)Identifont (Slimbach)

TITLE PAGE IMAGES•

Samantha Tubbs

INFLUENCES•

Thinking withTypeby Ellen Lupton

Typography Calendar

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