Windy City

Windy City

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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.

in a position that suited his retiring character: when pressed he would put

Century SchoolbookDesigner: Morris Fuller Benton (1872–1948 USA)

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February

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February

Minion Pro is an Adobe Original typeface designed by Robert Slimbach. !e "rst version of Minion was released in 1990. Cyrillic additions were released in 1992, and "nally 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 #exibility and typographic control, whether for lengthy text or display settings. !e 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 "gures, swashes, and other added glyphs, Minion Pro is ideal for uses ranging from limited-edition books to newsletters to packaging.

Robert Slimbach, who was born in Evanston, Illinois, received his training and early experience of type design in the drawing o!ce of Autologic in California. In 1987, a"er 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 o#er 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.

Minion ProDesigner: Robert Slimbach (1956 USA)


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March

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March

Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC. This version adheres closely to the subtle thick and thin pattern of the original design; the slightly enlarged x-height and condensed proportions of the new version result in greater economy of space. This typeface is a standard choice for use in newspapers and advertising. In 1991, David Berlow completed the family for ITC by creating compressed and condensed weights. ITC Franklin Gothic Compressed is designed especially to solve impossibly tight copy!tting 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.

Designer: Morris Fuller Benton (1872–1948 USA)

Franklin Gothic


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April






May


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The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of

in Munchenstein, Switzerland. His most famous typeface is Helvetica, currently

released the face in 1961 they called it Helvetica, the traditional Latin name

Helvetica Neue

Designer: Max Miedinger (1910–1980 CH)

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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

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.

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

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

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

are from his most creative period.

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Gill Sans MTDesigner: Eric Gill

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July

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July

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. In!uenced 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 "rst 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.

Bell MT

Designer: Richard Austin (1768-1830 GB)


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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.

Frederic Goudy, one of the best-known and most proli"c 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

"nest designs.

Goudy Old Style

Designer: Frederic Goudy (1865-1947 USA)


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William Caslon released his !rst 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. "e !rst 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. "e 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.

William Caslon I was the "rst 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.

Adobe Caslon ProWilliam Caslon (1692-1766 BG)

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October


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Century Gothic Regular fonts maintains the basic design of 20th Century but has an enlarged ‘x’

Century Gothic

Designer: Sol Hess

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November

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November

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.

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.


Perpetua

Designer: Eric Gill (1882-1940 GB)

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December

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