Simply Type i
Simply Type ii
Simply Type History of Typographers Ashia Sabbath, Editor
Lillypad Publishing
Simply Type iii
Š Lillypad Publishing
“I can do all things through Christ who strengthens me.”Phillippians 4:13. First and for most if it wasn’t for God I wouldn’t ne where I was, so I must stop and acknowledge him first. Second my mom who is my hear and sole, and has always taught me to strive and do my best at everything I do. If it wasn’t for her I wouldn’t be where I am today. She taught me to be the strong and independent woman I am now. My sister, my bestfriend who pushes me to become a better and wiser sister. I make sure I am a postive role model in her life, and to let her know you can achieve anything, if you are willing to work for it, and put your mind to it. Family is the most imortant thing to me, and I dedicate my typographer encyclopedia to them. LOVE YOU!
ACKKNOWLEDMENT Simply Type v
V ACKNOWLEDGMENT VII INTRODUCTION
FRANCE
01
Claude Garamond Myrene Gallardo Nicholas Jenson Joseph Flores Simon de Colines Madeline Hennelly Geoffroy Tory Kristina Kelliher Pierre Simon Fournier Shelby Norman Firmin & François Dido Kelly O’Keefe
15
GERMANY
Paul Renner Amanada Lancey Johann Faust & Peter Schoeffer Tim Dilch
21
ITALY
Giambattista Bodoni Paulina Partyka
Simply Type iv
25 USA Darius Wells Alica Werley Ottmar Mergenthaler Erica Camaren William Ludlow Tim Dilch Linn Boyd Benton Morris Fuller Benton Joseph Flores Bruce Rogers Madeline Hennelly Frederic Goudy Derek Green
Matthew Carter Donald Wu Robert Middleton Alice Werley Carol Twombly Sarah Swenson Carlos Segura Kimberly Sula Herb Lubalin Paulina Partyka
49 ENGLAND John Baskerville Ashia Sabbath William Caslon Kimberly Sula Vincent Figgins Sarah Swenson
William Moris William Thorowgood Donald Wu Corey Turek Eric Gill Myrene Gallardo Stanley Morison Ashia Sabbath
65 SWISS Jan Tschichold Austin Michaud Max Miedinger Kristina Kelliher
71APPENDIX 79BIOGRAPHIES 83BIBLIOGRAPHIES Simply Type vii
Man is an innovator. There is a part of human nature which compels us to better ourselves and improve our way of life. A life which once was a constant struggle to survive has evolvedto one rich in emotional and material comforts. This progression has been possible through the transference of knowledge. We have learned from our mistakes and have been able to benefit from our forefather’s wisdom. Perhaps man’s greatest innovation has been that of written language, the tool that has allowed us to record what we have learned for our posterity’s benefit.Started as a method of identifying goods in Mesopotamia, written language consisted primarily of single symbols stamped to the sides of barrels and pottery.
These stamps eventually evolved into pictographs, where in Egypt when used in sequence told tales on the great columns of Egyptian temples. The inven- tion of papyrus met the need for a more efficient way of recording information. Hieroglyphs were replaced by hieratics. This labori- ous method of communicating was further modified by the Phoe- nicians who developed the alphabet. The Greeks borrowing from the merchant Phoenicians, improved the alphabet, passed it on to the Etruscans who gave it to the Romans, who made it a thing of beauty although with three less letters (J,U,and W) than what we currently use. Their eloquent buildings were ornamented with the characters we still use today.
INTROD Simply Type viii
With the passing of the Roman Empire culture, education, governance, philosophy became the providence of the church. During much of what is now referred to as Medieval Ages, much education and bookmaking was relegated to monks and the oth- er individuals in religious life. Books were painstakingly copied by hand and illustrated in full color by a select few who had the skills to make a book. Books were rare and expensive items. Scholasticism and later the Renaissance created a need for broader and more efficient communications first on behalf of the church and then later as a means of advancing humanist interests. The invention in the West of movable typography, paper- making and printing met that need.
Books could be made by the thousands and their information available to an ever increasing audience. With this increase of knowledge came a renewed interest in the classics, the glory of Rome and the beauty of the Roman characters. Classical letterforms were studied and ana- lyzed. That research, in the 15th century, resulted in the letter- forms we use today, their shape having been fixed in hot-metal in the later half of the Renaissance. The developments in commu- nications from then to now have been great though the alphabet has remained largely the same. This work honors the designers who have made those changes and in doing so, changed the way we read and learn.
UCTION Simply Type ix
FRANCE Simply Type 1
Claude Garamond 1480-1561 Myrene Gallardo
C
laude Garamond was born in Paris, France in 1480. Garamond was an engraver, typeface designer, and publisher. He studied under France’s master typographer Geofroy Tory. At some point, Garamond got to cut his own punches and matrixes. Garamond’s work showed a development and refinement of form in type under the influence of Tory. The attitude and philosophy that Garamond took from Tory helped him improve on the systematic approach to the basic elements of the typeface. He established himself as the most significant French type cutter of his era. Garamond displayed his type was a strong development from the Aldine letter; it was tense bracketing and higher contracts of stroke weights. Garamond has been regarded as one of the best type designers followed by Gutenberg’s invention of movable type. Having Aldus Manutius’s roman type as inspiration, Garamond created and cut his first letters for an edition of Erasmus. He was commissioned by King Francis I of France to create a new cast of type, which is known as Grecs du Roi. Garamond’s italic and roman types were innovated as metal types not as imitations of handwriting. The Roman letter became standard and was generally accepted in France, and it took in place of the black letter and Gothic. He was dedicated was to ensure the eligibility of the typeface, but to also reflect on its structure, tone, and cultural context. “Garamond is credited with developing the sloped capital forms of the italic letter, a genre previously limited to lowercase, and thus creating the conditions for the concept of the companion italic, which is widely attributed to his younger colleague, Robert Granjon.” “For some time Garamond was thought to have been responsible for the letters known as the Caracteres de l’Universite in the Imprimerie Royale in Paris, which formed the basis for revivals such as Morris Fuller Benton’s ATF Garamond, issued in 1918, Monotype Garamond, and Frederic Goudy’s 1921 Garamont.” “Types designed by Garamond were used in the printeries of the Estienne family, Colines, Plantin, and Bodoni, and types used by the Elzevir family were based on his designs.”
URW Garamond No. 4 Cryillic TCY Light Version 001.005
Garamond Typefaces and Horse Farmer’s Museum, Cooperstown, NY
Claude
GARAMOND Simply Type 3
Nicholas Jenson 1420 Joe Flores orn in France in 1420, Nicholas Jenson was known as an engraver as well as being a type designer who was accredited for creating the first Roman type. In 1458, Jenson worked as an engraver at one of France’s mints. Charles VII would send him to Mainz to study the art of moveable type which Johannes Gutenberg had perfected. He spent close to three years in Mainz, possibly studying under Schoffer and Fust, principle workman of Johannes Gutenberg. He would return back only to find that the monarch was replaced with someone who wasn’t as fond as printmaking as the previous one. This would lead Jenson to relocate to Venice where he apparently worked at the press of Johannas de Spira. Jenson’s distaste for Guttenberg’s Gothic Textura inspired him to work with styling his own lettering that would later be known as Roman type. The Roman type made its debut in Preparatio Evangelica for Eusebius. This new style showed little contrast between thick stem and thin hairline strokes because of the primitive carving methods of the times. His serifs were blunt and heavily bracketed; and his caps were shorter in height than the ascenders so that more lines could fit on a page. The lowercase “e” had a distinctive slanted cross stroke Jenson’s Cloister Old-style became the first Old Style type face. Jenson would create the 100 year shift away from Gothic to humanistic also known as the Roman, typeface use across Europe. Jenson would be the first to present this form and font in 1471, which led to everyone following his style. Apart from creating the first Roman set type, Jenson was able to expand financially. By this, he could run as many as twelve presses simultaneously. He as well was responsible for launching two book publishing companies as well. Jenson’s type has been used continuously since its design in 1470: it has proven its worthiness through many interpretations. Some of Jenson’s offspring include Golden (Morris, 1890), Kennerly (Goudy, 1911), Cloister Old Style (Benton, 1913), Centaur (Rogers, 1915), and Berkley Oldstyle (Goudy, 1938). Jenson’s work was resurrected by the early 20th century arts and crafts designers, most notably being William Morris’ Golden type.
B
Page out of The Manual of Linotype Typography
Nicholas Jenson’s sample of roman typeface, printed in 1475 in Venice
Nicholas
JENSON Simply Type 5
Simon De Colines, (1480-1546) Madeline Hennelly
B
orn in 1480 in France, Simon De Colines is one of the most revered and prominent typographers of the French Renaissance. Not much is known about Simon De Colines, but what has been verified throughout history is fascinating. Simon De Colines began as a punchcutter around 1518. After the death of his partner, Henri Estienne in 1520, De Colines married Estienne’s widow, Guyonne Viart. By mar- rying Viart, he became the stepfather to six children. One of them was Robert Estienne who later became a promi- nent figure in the latter part of the French Renaissance. In addition to becoming a stepfather, De Colines acquired re- sponsibility of the Estienne’s printing business. By the time Robert entered the printing business in 1526, De Colines had set up his own print shop in Paris. During this time, he printed over 750 publications. The genre of his writings varies but they were typically de- signed similarly. Their content includes subject matter such as Latin Classics, Anti-Lutheran theological writings, and Greek classics. His books were normally either small or medium in size but they were always filled with beautiful images and extremely detailed typography. The fonts he used were elegant roman and italic fonts with accents that were of better quality than what typographers had done before him. Not only did De Colines pioneer French typography in a design sense but it is also believed that he is the first person to combine roman numerals and italic texts as we do today. During his lifetime he helped coach the next generation of French printers and typographers. His work has inspired and influenced people such as Renouard, Amert, Vey- rin-Forrer, Schreiber, and Vervliet. In addition, it is believed that the Roman type face he created inspired the creation of the font, Garamond. Simon De Colines passed away in 1546. Although his life occurred over four centuries ago, his influence on typogra- phy and book making is still prominent today and it is quite possible that without his work, typography would not be as developed as it is currently.
Johannes De Sacro Bosco Woodcut Print #1 by Simon De Colines 21 August 1527
Johannes De Sacro Bosco Woodcut Print #1 by Simon De Colines 21 August 152
Simon
DeColines Simply Type 7
Geoffory Tory/1480 Kristina Kelliher
G
eoffory Tory was a sixteenth century artist in the French Renaissance. Highly influenced by Humanism, he developed letterforms. Tory was born in Bourges in 1480 where he studied. He then moved to Paris in 1505 where he became a philosophy professor for the University of Paris. He then found interest in editing and publication. During this time, he attempted to make French text even though writing was primarily Latin. In order to make the French text legible, he utilized apostrophes, cedilla, and accents. Tory began to steer his research toward printing in the French language. While working on his book in 1525 called Book of Hours, he designed text and stylized pictures for it. He developed the idea of graphic design before it was even defined. In 1529 his book titled Champfleury, launched new ideas of letterforms. In French, the book is translated to “flower field” or “paradise.” It took on that name because of the calming nature of his Roman based letterforms that were precise and legible. He used a technique he had produced while using the concepts of geometry with grids and accurate measurements as tools. Although there were consequences to his book Champfleury. He had great passion for the Roman typeface and perfecting French writing. Most of the letterforms in France at that time were Gothic. In his book, Tory explained how the Roman typeface and French language was superior when it came to legibility in type. He created diagrams and grids to demonstrate his assertions. The grids mapped out how the letterforms should be perceived. He also used the geometric forms of circles to indicate perfections of the serifs.Tory also used the Humanist ideals to compare letterforms to the human body. With this he wanted to show how type corresponded to the anatomy of humans in relation to their body parts. For example, in one of the images of his book Champfleury he mapped out the letterform of a K and compared the leg of the K to an outstretched leg of a human. The leg of the K was congruent with the leg of the human. The Humanist views of Roman letterforms were conserved in France. In 1530 he was the printer for King Francis. Around 1553, he died and the new printer was Claude Garamond. Garamond was a typographer who found the Roman letterforms just as intriguing as Geoffory Tory, and took over where the first royal printer had left off.
A page from Geoffory Tory’s Book of Hours, 1525.
Caption2: An example of how Geoffory Tory used the human anatomy to compare to Roman letterforms from Champfluery, 1529
Geoffory
TORY Simply Type 9
Pierre Simon Fournier, (1712-?) Shelby Norman
P
ierre Simon Fournier was a French punch cutter and type founder. Fournier was the youngest son of a printing family and it is only natural that he would follow in their footsteps. Fournier was also known as Fournier le Jeune. He is known for creating typographical ornaments that reflect excessive curving, elegance, and natural form. His ornaments reflect the Rococo style of the eighteenth century. Fournier is known for his many contributions to the world of typography, including the measurement of type by the point system. In 1729, he went to work alongside his brother in the Le Be Foundry in Paris. Fournier began his career by cutting woodblock book-ornaments. Soon after, he abandoned woodblock cutting and started cutting steel block plates. He derived a skill set that would later allow him to create a table of dimensions and relationships of type-bodies, which is recognized as the point system today. Fournier later built his own type foundry in 1736, which was located in Paris, France. The Manuel Typographique, in which Fournier wrote about the art of punch cutting and type founding, shows the range of his exotic alphabets, ornaments, and his distinctive italic faces. The Manuel Typographique was a two-volume work published in 1764. Fournier is also known for his work in deriving the Table Generale de la Proportion, which forms the basis of the point system. Although Fournier’s point system has been revised over the years, his inclination to create a system of measurement by the use of the point remains his own. His point system solved the problem that numerous printers could not during his time period. There was no standard measuring system, which made printing rather difficult at this time. Numerous printers had measurement systems independent to themselves. Fournier decided to create his punches to a scale of 72 points to the Paris inch. It wasn’t until 1785 that Francois Ambrose refined Fournier’s point system, and the pica originated. The pica contains 12-point units of measurement. Fournier’s establishment of the point system influenced the creation of the pica, and the revised point system that is recognized today. His work influenced other important typographers such as Didot, Bodoni, and Walbaum. Typographers and designers throughout the world recognize the point system and pica. His work is continually contributing to the world of typography today.
Point System grid for the letter “M”
Manuel Typographique by Adrian Frutiger
Pierre Simon
FOURNIER Simply Type 11
Firmin Didot Francois Didot Kelly O’Keefe
F
or over a hundred years and three generations, the Didot family were among the most successful printers, designers, and typographers in 18th and 19th century France. Each member of the family offered a significant contribution to the various branches of book trade in some way. After a long career as a printer and bookseller, Francois Didot, the first to own the family press retired and passed the company’s responsibilities down to his son, Francois-Ambroise Didot. After inheriting work from his father, he went on to become an incredibly significant figure in the world of typography. Throughout his career, he was appointed printer to the clergy, developed several typefaces, many of them influenced by the work of John Baskerville, and was the first to print on vellum paper. In 1780, Francois-Didot’s modified Fournier’s point system. What made Didot’s system so different was that he sized the typefaces by width, using units of 1/72 of the pre-metric French inch. This would later be named the “Didot Point System” and it went on to become Europe’s continental standard of measurement until 1973, when it was standardized at 0.375mm for the European Union. Francois-Ambrose wasn’t the only Didot, however, to influence a groundbreaking change in the world of type and publishing. His son, Firmin, who took over the foundry upon Francois-Ambrose’s retirement in 1789, introduced an efficient process of stereotyping. As first to print books using these stereotyping plates (a process he not only improved, but named), this enabled him to make more affordable books. Firmin was also one of the most important of the Didot family in regards to his contribution to type design––favoring a modern, neoclassical style. In 1784 he produced the first modern typeface, which would be characterized by thin serifs, high-contrast strokes and a marked vertical stress. The Didot types defined the characteristics of modern roman type style. In 1811, Firmin was made printer to the Insitute Francais, and shortly after was appointed as the Director of the Imperial Foundry, which he held the position of until his death in 1836. Throughout the years, several revivals of Didot typefaces have been revised, one of which being Adrian Frutiger’s verson of Linotype.
Porttrait of Firmin Didot
Didot Typeface
Firmin & Francios
DIDOT Simply Type 13
GERMANY Simply Type 15
Paul Renner, (1878-1956) Amanda Lancey
P
aul Renner was a graphic designer, typeface designer, writer, painter and teacher born in 1878. Raised in Wernigerode, Germany, Renner was subject to a very strict upbringing. He learned to value responsibility and order and subsequently was weary of abstract forms of expression, particularly in art. Though abstract art was gaining in popularity towards the end of the 19th century, Renner appreciated the concrete design of modernism. From 1908 to 1917 he designed books for the Munich publishing trade where he became aware of the Bauhaus movement. Bauhaus was an influential modernist school of the arts which stressed a sensible connection between art and function. Though Renner was not involved with the school, he appreciated its goals and let their ideals influence his designs. Renner became a member of the German Work Federation where he worked on books, most notably “Typography as Art” and “The Art of Typography”. Between 1924 and 1926, he began designing typefaces based on geometric shapes, linking the traditional style with the modern. This exploration led to his invention of the Futura typeface. Futura was well received during its release in 1927, and due to its clear, yet commanding appearance it is among the most popular typefaces to this day. This well-designed, sans-serif font became a catalyst for “New Typography” coined as Geometrical Modernism. This movement emphasizes the principles of the Bauhaus aesthetic, as well as Renner’s because it shares the same commitment to marry function and design. Renner’s invention of Futura influenced the idea of clarity, efficiency, and cleanliness in typeface design. This is apparent in the subsequent creations of Kabel, Metro, Vogue, Gotham, Century Gothic typeface designs. Futura was released in many versions, including Light, Condensed, Medium, Bold and Extra Bold. While the font’s success continued to escalate, Paul Renner died in Hodingen, Germany in 1956. Futura is now among the most used typefaces of the 21st Century.
Above is a sample of the style Renner appreciated-- distinct lines, angles, and geometric forms. This aesthetic is showcased in his typographical designs.
Above are samples of the family of Futura typeface, created by Paul Renner.
Paul
RENNER Simply Type 17
Peter Schoeffer Johann Faust Tim Dilch
P
eter Schoeffer (c. 1425, Gernsheim - 1503, Mainz) is generally considered to be the second most prolific person involved with the early stages of printing progress & its massive spread across Europe. He was the apprentice of Johannes Gutenberg, the father of printing. He was known as the one who took the work of Gutenberg and vastly improved/refined it. Schoeffer was born on 1425 in Gernsheim, Germany where he found an interest in calligraphy that mutated into manuscript copying and eventually printing.Up until this time, the method of printing developed by Gutenberg was highly ineffective. The use of wooden letters was imprecise and somewhat barbaric. A stroke of genius earned Schoeffer the title “the father of letter-founding,” since he went on to develop a technique of casting single letters in matrices as opposed to having to cut them. This resulted in the revolutionary moveable type made of metal. The original metal used for the matrices was too soft, but this was easily remedied by mixing togther three kinds of material to create a harder metal that was perfect for printing. With this invention, it was not long before others also made the career leap from the scribe & quill to the letter-press before the turn of the century. Peter worked under Johann Fust in Mainz who was a lawyer, entrepreneur, lender, and the generous patron of Gutenberg’s original press & book operation. Fust was so pleased that he gave Schoeffer his daughter’s hand in marriage for his useful discoveries with metal casting, and his precise, passionate labor. Schoeffer became known as a legend in the city of Mainz for founding a printing dynasty which led to a massive increase in sales of he and Gutenberg’s famous 42-Line Biblia Latina. In addition to this, he produced other impressive theological and legal texts. Some historians see him as a benefactor who had an equal hand in the conception of printing with Gutenberg. Yet others believe that he and Fust took advantage of Gutenburg and robbed him of his invention for his own good. Regardless of the truth, during their partnership, Johann Fust sued Gutenberg for the return of large quanitites of equipment, ink, and vellum because of the little income they were receiving. If he had waited for the sales of the immortalized bibles, his investment would of payed off. Post-litigation, Schoeffer & Fust stuck together.
A single page from one of Fust & Schöffer’s works, where the printer’s mark in red reads: “This present work, with all of its embellishments, was done not with pen & ink, but by a new invented art of casting letters, printing, by me, John Faust, and my son-in-law, Peter Schoeffer, in the famous city of Mentz, upon the Rhine.”
Excerpt from the Mainz Psalter, printed on vellum in black and red, with wood- block two-colour initials, manuscript music and large coloured capitals in blue and red; folio.
Johann Faust & Peter
SCHOEFFER Simply Type 19
ITALY Simply Type 21
Giambattista Bodoni, (1740-?) Paulina Partyka
G
iambattista Bodoni was born on February 16th, 1740 in Turin, Italy. His father and grandfather were both in the printmaking trade, where Bodoni learned most of these skills. He was always eager to learn and anxious to master his skills. His first job was in Rome, where he was an apprentice at the Propoganda Fide printing house. This was where he published his first books, the Coptic Misaal and his version of the Tibetan Alphabet. Later in his life, he was hired by Duke Ferdinando of Bourban-Parma to organize a printing house in Parma. It later became one of the greatest houses in Italy, La Stamperia Reale or The Royal Printing House. He then published a few more of his books and eventually ended up opening one of his own printing houses called Officina Bodoni. He was one of the first to cut a modern typeface. A modern typeface has hairline serifs at right angles to the uprights, vertical stress, and abrupt contrast between thick and thin strokes. It was a brand new typeface that refrained from decorative padding and was based on symmetry and proportionality. At this time, he became one of the most well-known typographers in Europe. He had designed almost 300 typefaces and produced about 1,200 editions in the various print houses. His style became so popular that Bodoni actually was reffered to a style of font, rather than just a typeface. Even to this day, most designers use Bodoni’s type style throughout their works. After his death on November 29th, 1813, his wife published the Manuale Tipografico, which means, The Inventory of Types. It was published in 1818, five years after his death. The book set out the priciples of typography. It was a collection of 291 Roman and Italic typefaces, along with samples of Greek, Russian and other types. It also included a collection of ornamentals and geometric patterns. The book features very large type, which was what Bodoni’s type style was actually designed for. He designed it to be read better larger than smaller. This was also made to show high contrast in layouts and to better balance the positive and negative spaces throughout his manual. In his lifetime, Bodoni had accomplished a great deal. He had revolutionized the way people saw type, and had even created a design manual to help guide typographers to come up with outstanding work like his. He was one of the first to do so and for this he is remembered.
Title page of Bodoni’s Manuale Tipografico
Page from Bononi’s Manuale Tipografico
Giambattista
BODONI Simply Type 23
USA Simply Type 25
Darius Wells, (1800-?) Alice Werley
D
arius Wells was born in the year 1800 in Johnstown, New York. He began his career in printing in his youth as an apprentice to William Childs. After six years of apprenticeship, Wells and Childs moved to Amsterdam, New York, and established the town’s first newspaper. Wells and Childs continued to work as partners in their printing business, which they later moved to New York City. It was around this time that Wells began experimenting with using wood to create letterforms. Before Wells, letterforms used in commercial printing were made of metal. They were also expensive and did not come in large sizes. By simply substituting the metal with wood, Wells created a less costly way to manufacture letterforms in a wider variety of sizes. Wood type also eliminated the occasional distortion that metal letterforms would cause due to uneven cooling when the metal was forged. Wood type also guaranteed smooth and even printing of larger type. Wells introduced his wood type in 1827, and created the first ever wood type catalog that following year. The catalog contained seven styles of type in twenty-‐ one sizes. In an effort to improve upon his invention, he subsequently designed a tool to increase the efficiency and precision with which a letterform would be cut. The device he invented is known as the lateral, or Wells, router. After discovering his passion in letter-‐cutting, Wells created his own company called “D. Wells and Co.” which later became “Wells and Webb,” after Wells partnered with one of his employees, Ebenezer Russell Webb. This new company was based in New York City, but later expanded with the establishment of a factory in Paterson, New Jersey in 1840. The Paterson factory manufactured Wells’ wood type, and later expanded to offering a few other printing materials. Wells worked until 1856 when he retired in Paterson, and died in 1875.
Poster created with wood type, printed in 1819
Large wood type letters
Darius
WELLS Simply Type 27
Ottmar Mergenthaler, (1854_?) Erica Camaren
B
orn into a family of teachers in Hachtel, Germany, Ottmar Mergenthaler chose a different career path than his father would have preferred. He enjoyed making mathematical instruments and working with machinery, and so for a number of years Ottmar worked as a watchmaker’s apprentice. It was in 1872 that he moved to America where he would work for the watchmaker’s son and soon begin his fascination of mechanizing the typesetting method. After two years in America, Ottmar moved from Washington DC to Baltimore in hopes of better business prospects for their shop. One of his first major projects dealing with type was creating a machine that would decrease the number of steps it took for court stenographers to transfer shorthand to type. It was then that Ottmar realized he wanted to focus his work on designing and constructing typesetting machines, so in 1883 he opened his own shop where he would soon create a device that would make history. The first device of Ottmar’s that was marketed to the public was known as “The Blower”, and in 1886 it was featured in the New York Tribune’s composing room. There the famous name Linotype was coined by publisher Whitelaw Reid stating ‘Ottmar, you’ve done it! A line o’ type!’ Ottmar’s invention allowed an entire line of type to be set at once, and both typesetting and casting were performed at a single keyboard. During the next four years, the Tribune had accumulated over a dozen Linotype machines all in which helped publish a 500-page book called The Tribune Book of Open Air Sports. It was in this book a note of dedication to Mergenthaler and his machine, which entirely over rid the use of movable type. The device that Ottmar created was a huge progression in the world of typesetting, now newspapers could increase in page count, and reading materials became more affordable. However, this sort of advancement put thousands of journeyman typesetters out of work because typers who would work for much lower prices could now complete their job at an extremely fast pace. Ottmar wasn’t able to enjoy the success of his invention too much longer, he passed at an early age of 44 due to tuberculosis that he was diagnosed with five years prior. At that time, over 7,000 of his Linotype machines were being used worldwide, Thomas Edison later calling it “the eighth wonder of the world”. The 500-page book that had been printed using Ottmar’s Linotype machine. In the book is a dedication to Mergenthaler and his invention.
Mergenthaler’s Linotype machine which set type as a full line and allowed both typesetting and casting to be performed at a single keyboard.
Ottmar
MERGENTHALER Simply Type 29
William Ludlow (1906-?) Tim Dilch
I
n 1906, typographer William I. Ludlow and machinist William A. Reade, owners of the still functioning Ludlow Typograph Company (a Chicago based company!) collaborated and conceived of an easier, cheaper, and somewhat more efficient Linotype machine. Although this new-fangled contraption had a short life-span for it impracticability, the Ludlow Typograph was a (quite dangerous) hot metal type casting system. Using a hand-assembled-matrice, you created individual slugs of type made of lead which one would use to impress ink and print characters up to 240 pts (about 3 inches.) Now, this machine proved useful for book bindings and headlines (somewhat larger texts) but not for much else. It was quite amazing for its ability to recycle used slugs on the spot and have an unlimited supply of hot metal. Yet, one dangerous setback of the machine was the fact that if the spaces in between the sorts & slugs got pressed together during a press, in some circumstances, molten-lead would squirt out! To use the Ludlow Typograph, the hand-set slug caster, you would place all of your matrices and spaces into the stick, lock it into the machine, and start it up. It would then pump metal into the mold of the cast. Which you would retrieve once they’re hard and cool. They would often need to be trimmed in order to have a correct leading & kerning. The Ludlow Typograph was primarily intended for the frugal small businesses that couldn’t afford the steep cost of the Linotype; which had its limitations such as only being capable of printing 8, 10, or 12 pts. And instead of using a keyboard to cast, one did it by hand, a huge drawback of the Linotype, in-fact. It was efficient for the short time it existed to many printers (that often owned both machines for different reasons.) And it was easier to assemble and justify than foundry style type. Pretty soon, with their brief success, in 1920, the Ludlow Typograph Company took over Elrod Slug Casting Company and created (as well as re-created,) with help of R. Hunter Middleton, 60 legendary type designs, truly innovating the direct of typography for years to come. Because letterpress printing is no longer logically necessary thanks to the digital age, there are still rubber stamp manufacturers, foil printers, and private pressmen who need the old style of type casting. Some still really enjoy the hands on technique that the Ludlow had to offer.
An excerpt from the Ludlow Typorgaphy Company Brochure shows a man placing the matrices into the composing stick, note that the company is still Chicago based to this day (1965.)
Scanned from a Ludlow Company letterhead, we see an early model of the machine (sans the cooling tank in newer ones (1920.)
William
LUDLOW Simply Type 31
Linn Boyd Benton Morris Fuller Benton Joseph Flores
B
orn on 1844 in Little Falls, New Jersey, American Engineer Linn Boyd Benton “founded ATF (the American Typefounders Company) which was a business trust. Linn Boyd Benton’s son Morris Fuller Benton was also employed by ATF. “The Bentons and ATF are largely responsible for the bringing of sans serif type into mainstream design usage.” “Sans serif typefaces today are used all over the world to set text as well as headlines. The breadth of the sans serif medium has grown to rival serif typography in overall usage.” Noted for the invention of the Pantographic punch-cutting machine, it separated the designing of type from their original production as fonts for the first time. This invention “simplified the process of matrix production, and paved the way for future technologies, such as Ottmar Mergenthaler’s Linotype Machine (1886). This invention came in the nick of time for Mergenthaler Linotype, which at that particular moment in its history faced failure unless it could find an adequate method of providing matrices for its new typesetting machine. “Indeed, it is said that without Benton’s punch-cutter, Linotype setting would not have been possible. Benton’s skill as an inventor and businessman changed the American typographic landscape forever.” Linn’s son, Morris is “accredited with being the most prolific type designer in American history, with an output twice as great as that of Frederic Goudy. Between 1900 and 1928, Morris designed 18 variations on Century, including the popular Century Schoolbook. “Century was the first major American typeface, which was designed in 1894 by Linn Boyd Benton for Theodor Lowe De Vinne, the printer of the Century Magainze.” The two as individuals were nowhere nearly as accomplished as they were as a duo by taking design and type into a whole new direction creating advancements that would inspire many designers in the future. Despite Linn being overshadowed by his son Morris. “Morris had 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. Linn would later pass away in 1932 in Plainfield, New Jersey, followed by Morris on June 30, 1948.
The American Type Founders Building located in Jersey City (1910)
One of Benton’s lesser known typefacs found in ATF’s Book of American Types.
Linn Boyd & Morris Fuller
BENTON Simply Type 33
Bruce Rogers (1870-1957) Madeline Hennelly
K
nown for his page layouts, book-making and exquisite, traditional typography, Bruce Rogers is one of the great American typographers of all time. Bruce Rogers was born in Linnwood, Indiana on May 14, 1870. He began attending school at the age of six and in his twelfth year of schooling, a cousin of his gave him a book by John Ruskin named, “Elements of Drawing.” The book helped him realize that letters were more than just symbols used to construct words. The inspiration of typography slipped his mind until after college, while living in Boston. After attending an exhibition of books at the Boston Public Library, he viewed Nicolas Jenson’s “Eusebius” for the first time. He became infat- uated with the beauty of its pages. More specifically, the typeface used throughout the book inspired him to create what he refferred to as “the perfect font.” After a few years of designing this “perfect font,” Rogers met the American scholars Henry Watson Kent and John Cotton Dana. Both the men had many interests but a common one between them was printing. It was not until meeting both of them that Rogers became interested in the trade himself and began to pursue it. About ten years after meeting the two printers, Rogers began working on the “perfect font” once again. Rogers sent a draft of it to a man named Robert Weibking to edit and make revisions. After passing the font back and forth- between them and making multiple revisions on it, the font was sent to the American Type Founders Company. This font eventually became known as Centaur. It is consid- ered by most to be his most successfully executed typeface and it is definitely one of his most revered works. Centaur has since been used in many works; one of them being in the Oxford Lectern Bible. Later on, Harvard Univer- sity Press acquired the font. Bruce Rogers passed away on May 18, 1957 in Newfair- field, Connecticut. Athough his life has ended, his legacy and his work, still lives on and influences typography, print- ing, and book design today.
Centaur Typeface: Alphabet by Bruce Rogers
Centaur Typeface: Numbers by Bruce Rogers
Bruce
ROGERS Simply Type 35
Fredric Goudy (1865-?) Derek Green
F
rederic Goudy was born March 8, 1865 and died May 11, 1947. He was born in Bloomington, Illinois with two siblings to his father, John Goudy. His father’s family came from Ohio as farmers, being the son of a Scottish immigrant. Growing up, Frederic never showed any signs of greatness or unique typographical abilities. His classmates quoted that he was a strange and likable individual but never extraordinary. Frederic’s first drawn alphabet was foundry bought and cast into type at the age of 30. He didn’t become a professional type designer until the age of 46. During his early career, he designed display typefaces mostly for advertising. In 1903, Frederic and one of his students, Will H. Ransom, founded the Village Press in Park Ridge, Illinois. The first book that the Village press printed was titled Printing by William Morris and Emery Walker. Shortly after, Goudy bought his partner out of the Village press business. In 1915, Goudy invented one of his most popular types known as Goudy Old Style for the American Type Founders Company which was released that same year. As his career went on Frederic became more interested in design and traditional Roman typefaces. He would draw many of his typefaces by hand and sometimes let companies produce matrices for his typefaces. From 1920 to 1947, Goudy was art director for Lanston Monotype. In 1927 Goudy became vice-president of the Continental Type Founders Association, which helped Goudy to expand himself and his typefaces. The same year he had also set up in his home in New York, so that he could produce how he wanted to and be as creative as he would like. During this time he had also begun to stop letting companies produce his matrices but started doing it himself. Unfortunately in 1939 a fire occurred and destroyed Goudy’s work, this was the second fire in his life that had set his typographical work behind. The last 25 years of his life Frederic Goudy was a famous man. He traveled between schools, businesses and clubs as a popular speaker teaching anyone who was willing to listen. Frederic Goudy influenced many typesetters to follow such as William A. Dwiggins, Oswald Cooper, and R. Hunter Middleton. He spoke on the importance of typography and the art of type setting. By the time Goudy died he had designed 122 typefaces and published 59 literary works. Frederic Goudy was an unexpected and welcomed addition to the history of typography. Though living a hectic and chaotic life, he was able to greatly influence to future of type.
Printers Mark of Village Press, 1912
Goudy Italian Old
Fredric
GOUDY Simply Type 37
Matthew Carter, (1937-?) Donald Wu
M
atthew Carter is known for designing the typeface Bell Centennial for AT&T’s telephone directories in 1976. The predecessor of Bell Centennial was Bell Gothic, which was originally designed by Chauncey H. Griffith in 1937 for the Bell Company’s telephone directories. The company was using the Linotype machine as their printing method until the Cathode Ray Typesetting(CRT) was introduced to them as the more technological way of printing. Being that the Bell Gothic type was designed specially for the Linotype, the transition from metal to photo setting affected the legibility and quality of the prints. The light weight of the Bell Gothic broke apart because it was too thin and sometimes the letters eroded completely at the intersections of its straight and curved strokes. For a short period, the printers tried to compensate the illegibility of the letters by over inking the printing plates, but instead the strokes of each character ran into each other and distorted the looks of some letters. It was also costing printing time and production money. Carter noticed the flaws of the Bell Gothic typeface with the CRT and took the opportunity to design a more legible typeface to accommodate small print on low quality paper. Ever since, The Bell Centennial has been used by AT&T in their telephone directories. Matthew Carter was also known for creating the Verdana typeface in 1996, specifically for onscreen use. Resolution of a computer screen became an important factor when transitioning type on paper into digital rendering. As a result, the letterforms looked blocky and the integrity of the type was affected. Carter was aware of the coarseness in the screen compared to print. During the late 70’s and the early 80’s, digital imaging techniques were on the rise. Around that time, Carter joined Bitstream, a company with the purpose of designing typefaces for on-screen use. After about 11 years, he decided to start his own type foundry, in which he partnered with Cherrie Cone to establish Carter & Cone in 1992. The Verdana project started because Carter an his partner had the altruistic idea to enhance the on-screen experience for the people. Unlike Truetype and Postscript typeface that were created using outlines, Carter started the creation of Verdana with bitmap. After much experimentation in figuring out the
A poster for the Verdana typeface.
Grotesque sans-serif font Bell Gothic.
Matthew
CARTER Simply Type 39
Robert Middleton, (1898-?) Alice Werley
R
obert “Bob” Hunter Middleton was born in Glasgow, Scotland in 1898. He emigrated to the United States at the age of ten, settling down in Chicago, Illinois. Middleton graduated from the School of the Art Institute in 1923 after studying under the tutelage of Ernst Detterer. Together, Middleton and Detterer created the Eusebius series, names for the famed Roman historian. Eusebius was based upon Detterer’s existing typeface called Nicolas Jenson. The Eusebius typeface was crucial in his hiring at Ludlow Typograph Company, where he would work for the next fifty years. After learning matrice cutting from Robert Wiebking, he was promoted to director of type design in 1933, and later as art director. For years at Ludlow, Middleton created countless typographic treatments for advertisments and newspapers all around Chicago. While working at Ludlow, Middleton created almost one hundred typefaces. One of these typefaces is Karnak, a slabserif. The Karnak series was one of the first typefaces to be designed in medium and light weights. In addition to his professional work, Middleton is noted for his involvement in the creation of a few notable organizations in the world of typography. Middleton, with his mentor Detterer and another typographer by the name of Oswald Cooper, founded the Society of the Typographic Arts. Middleton served as its first secretary. He also was a founding member of the 27 Chicago Designers, one of the first to participate in the Association Internationale Typographique and an active member of the Typocrafters, a group for midwestern typographic designers. In his free time, Middleton was an avid collector of wood engravings by the English designer Thomas Bewick. He also had his own private press called Cherryburn, with which he taught himself how to recreate printings of Bewick’s illustrations. After working at Ludlow Typograph, Middleton served on their board of directors. In his retirement, he taught at a variety of universities, including Yale, the University of Alabama, and UCLA. He was also the author of two books, “Chicago Letter Founding” and “Making Printers’ Typefaces.” He died an extremely accomplished typographer in 1985.
Ludlow Karnak type specimen hand-cast and printed in various sizes with black ink on brown paper at the International Printing Museum.
Original strip casting machine brass name plate made by the Ludlow Typograph Company.
Robert
MIDDLETON Simply Type 41
Carol Twombly, (1955- present) Sarah Swenson
C
arol Twombly was born in 1959 in Concord New England. She began her studies of the arts at the Rhode Island School of Design and quickly discovered her passion for graphic design. After graduation, Twombly was invited to join a small group of students studying typography at Stanford University. After two years of study she was given a Masters of Science degree. In the following years she continued her study of type and began entering interna- tional competitions, the first of which she won in 1984. She won first place in the Latin text category. These designs were later published by a Japanese company named Morisawa under the name Mirarae. In 1988 Twombly began working for the Adobe Originals program. In her years working for adobe, Twombly designed a number of influential typefaces, including; Adobe Caslon which is a reworking of William Caslon’s 1700 design. These designs also include Trajan, Lithos and Charlemagne, all of which are influenced by classic letter forms from Greek scripture and western European illumi- nated manuscripts. In 1994 Association Typographic International awarded Carol Twombly the Charles Peignot award for outstanding contributions to type design. She was the first woman to ever win the award. Twombly’s collaborated work with influential type designer Robert Slimbach in 1990 resulted in the Myriad font, which has since been used as the “default” font in many word processing programs. Additionally, Twombly produced other notable typefaces which include Chaparral and Nueva, which has been commonly used by art directors and communication designers. Twombly’s topographic work has demonstrated the effec- tiveness of referencing forms from the past into modern type faces and utilizing existing forms to create diverse and legible fonts.
Mriad Pro
Tajan poster
Carol
TWOMBLY Simply Type 43
Carlos Segura, (1957-present) Kimberly Ann Sula
T
-26, the Digital Type Foundry was established in Chicago by Carlos Segura. Born in 1957, Segura moved to the United States at age nine. Before working his way into design, he became part of a band, working his way up from a roadie to a drummer, eventually finding his way into production arts through his portfolio that he made out of his former band promotions. He worked for many advertising agencies, including Marsteller, Foote Cone & Belding, Young Republican, Ketchum, and DDB Needham, in Pittsburgh and Chicago. Though Segura had been successful, he was not happy with his place in the artistic world, and decided that he needed to search elsewhere to pursue his passions. Segura had a goal in mind when he decided to found his own company, Segura Inc. (1991); it was to incorporate as much fine art into the commercial art world as possible. He had the same idea in mind when he founded T-26 in 1994. Through the new digital type foundry, Segura and his partner, Scott Smith hoped to further explore and develop the typographical part of the art world to its full potential. Segura wanted to promote the distribution and development of independent typographic design. This would help individual typographers and graphic designers to publish and distribute their work around the world. Containing approximately 600 families of well over 2000 individual fonts, T-26 has become one of the world’s most respected, independent sources for contemporary fonts. Together, both T-26 and Segura Inc. have both been awarded for their designs. Carlos Segura inspires those around him in saying, “I’m always amazed that the people who are most likely to complain about their life, are usually the ones that aren’t doing anything about it.” Segura created a new place for himself and many other designers in the art world. Though not all of his ventures had been successful, such as 5Inch.com, a company that specialized in new ways to create and personalize custom blank CDR’s and DVD’s (which was forced to close due to a lack of business in 2010), Segura still remains a truly inspirational typographer and graphic designer. And his T-26 has remained dedicated to the integration of typography with fine art, graphic design, and popular visual culture.
Project: “Crop” large format product catalog/portfolio, 2005 (Segura) Client: Corbis
Project: “5Inch” silk screened CDR/DVD labels (Segura)
Carlos
SEGURA Simply Type 45
Herb Lubalin, (1918-?) Paulina Partyka
H
erb Lubalin was born on March 17, 1918 in Brooklyn, New York. He was an art director, type designer, and typographer. After graduating from Cooper Union in 1939, were he began his love for typography. Soon after graduation, he joined the advertising agency of Sudler and Hennesey as an art director. He left Sudler and Hennessey to start his own firm where he expanded his design skills from typography to packaging, and from trademarks to posters. He began to experiment with typography. During this period, he came out with some of his most inspired works. In 1970, he joined with Edward Rondthaler and Aaron Burns to establish the International Typeface Corporation or ITC. One of the typefaces that he has been known to design is the Lubalin Graph typeface. He designed it in 1974 and it is based off of his ITC Avante Garde typeface. The two designs are almost identical, except in Lubalin graph he added the slab serifs. Both are Egyptian typefaces and have a high x-height in relation to the ascenders and descenders. The strokes are equally weighted optically and the typeface has nice curves. The slab serifs give the typeface a geometric edge. Lubalin’s typeface designs were made to display advertising rather than text setting. Lubalin is also known for the typographic journal named U&lc, which stands for Upper and Lower case. He worked on this journal for the last ten years of his life. He started the journal to put out his typographic advertisements and to experiment with type. He not only designed it, but also edited it. The journal was read by type enthusiasts world wide. It also had a major impact on the publication design in the 1970s. During this same time, he became the creative director of another magazine called Avante Garde. He had also designed a typeface with the same name. He actually based the typeface off of the logo that he did for the Avante Garde magazine, and turned it into its own typeface. However, the only time the typeface was used correctly was the first time that Lubalin published it. From then on it became extremely popular and overused. And incorrectly. Lubalin took typography to an entirely new level in his time. He experimented with it, and even advertised it to make an even larger impact. He has made a huge impact in the type industry through his brilliant typefaces and his extraordinary publications.
Herb Lubalin’s typeface Lubalin Graph
Lubalin’s Avante Garde Publication
Herb
LUBALIN Simply Type 47
ENGLAND Simply Type 49
John Baskerville (1706-1775) Ashia Sabbath
J
ohn Baskerville was born in 1706 in a small village and was a printer in Birmingham, England. Baskerville was a master for compelling innovations in printing and ink production. During his teenage years he use to engrave tombstones, and was discovered while he was working as a house servant. As he got older he was teaching writing and bookkeeping and running an engraved business. By the age of thirty he became interested in the then-popular lacquering process now called japanning which made him wealthy. Japanning is a method of varnishing a surface, such as wood, metal, or glass, to obtain a durable, lustrous finish, which was first brought to Birmingham by John Taylor. He soon later died after that, so John Baskerville picked up what used to be John Taylor’s business and started his own, so to speak. In 1749 Baskerville made elegant work and great trade in the japan art. In the japan business Baskerville and John Taylor competed with each other, in way that Baskerville wasn’t making the same things Taylor was making. Baskerville wanted to make sure that if he was going to make these japan pieces, he was going to make them better and more unique. John Baskerville was a person of much consequence in Birmingham when he took up the matter of type founding and printing. John Baskerville was a bit of a perfectionist which demanded complete control over his entire printing process. Baskerville was also responsible for developing a technique which produced a smoother whiter paper which featured the strength of his black type. Baskerville also launched a completely original style of typography which involved wide margins and leading between each line. Baskerville designed and created type and layouts, he improved the presses and inks and also developed new paper making techniques enabling the creation of smooth bright papers. William Carlson who was an English contemporary and has work from the Italian renaissance printers was one of Baskerville’s influences. Although he had people who influenced him, when he did different pieces of work he was made sure to keep to his own style. Baskerville would refine his work to create type with more extreme contrast of thick and thin strokes, which ultimately gave a great lightness and color. John Baskerville had such strong typography that his letterforms were able to stand on their own. His letterforms had a wider look to them, than most. Baskerville died at the age of sixty-nine in January 1775.
Baskerville is a transitional serif typeface designed in 1757 by John Baskerville. The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon.
Hand-Press such as was used by Baskerville From Luckombe’s History and Art of Printing
John
BASKERVILLE Simply Type 51
William Caslon, (1692- 1766) Kimberly Ann Sula
W
illiam Caslon was born in c1692 in Cradley, Worcestershire, England; he worked as a gunsmith and as a bookbinder’s tool-cutter. Inspired by Dutch type design, and with encouragement from William Bowyer, Caslon started his own business in London. He eventually became the leading typecutter in England, creating solid and extremely legible designs that could be easily read. His goal had been to create typefaces that would allow the reader to see the material and not be hung up on the design of the type itself. Caslon’s type foundry was completely set up by 1720, and his first Specimen sheet was issued in 1734. His type faces eventually became so popular that they spread all over Europe. The phrase, “When in doubt, use Caslon,” came to be due to the success, reputation, general attractiveness of Caslon’s typefaces. It seems interesting that Caslon’s typefaces would make their way to the American Colonies, but when Caslon was first beginning to make his name, Benjamin Franklin was working in John Watts’ printing office. His work, having been adorned by Franklin, was brought over to the American Colonies. Not only did Franklin admire Caslon’s types, he recommended them and quickly made them a staple in his own office. The Caslon typeface was used for the first Printings of both the Declaration of Independence and the United States Constitution. Until about the year 1800, Caslon’s typefaces were the most commonly used typefaces in American printing. Caslon inspired typefaces are still often used today to convey a historic or even a feeling of American antiquity in work today. After Caslon’s death in 1766, his son Caslon II took over the foundry after his father. This continued on for two more generations, keeping the foundry in the family. Having created over 200 typefaces in his lifetime, Caslon’s foundry continued to grow and evolve through his family until 1819 when it was sold by Caslon IV to Stephenson, Blake & Co. The first sanserif was actually a Caslon creation as well, with its first appearance from the family in 1816 on a specimen sheet; it was known as “Two Line English Egyptian.” Though it seemed to be somewhat of a failure in comparison to other Caslon designs, it was still the mark of a new age in typography all together. Caslon Steel Punches
Caslon’s Specimen (1734)
William
CASLON Simply Type 53
Vincent Figgins, (1766- 1844) Sarah Swenson
V
incent Figgins was born in Peckham, England in 1766.Vincent began his career as a typographer as an apprentice to Joseph Jackson. He is best known for his introduction of egyptian style typeface. After Jackson died, Figgins was unabe to keep the business due to financial problems. However Figgins eventually had his own business, in which he produced many significant commissions. Figgins played an important role in the rising industrial age because his designs were bold and powerful, which was ideal for advertisements. His types reflected the age of industrialism with bold slab serifs and even weight. At the beginning of the nineteenth century, the public lost interest in elegant traditional roman fonts and instead became more attracted to bold contemporary typefaces. Initially, Figgins was popular for his beautiful renditions of classical type in bible commisions. As the turn of the century brought a new age of industrialism, and the need for more commercial typefaces grew. Figgins began developing type designs that were bold and commercial. Earlier, he used a combination of thin and thick srtokes. Eventually, his designs used the same weight throughout each letter. One design that Figgins had a reputation for was the use of bold slab serifs. In his designs, the seriffs would often be as thick as the strokes. In Figgins’ specimen book of 1817, his bold type (Egyptian) would be labelled as “antique roman”, which was compared to a fat face style at the time. Figgins recieved some criticism for his designs, but then was acclaimed for creating one of the best typefaces of the 19th century. Figgins designs would be widely used in early forms of advertisments, like handbills and posters, because of it’s commercial appearance. Vincent Figgins was important in the gowing industrial age because his typefaces allowed a commercial appeal, ideal for advertisements. The “fat face” letters would be used from then on in newspapers and advertisements in the 19th century.
“Fat Face” Type
Egyptian Typeface in 19th century newspaper
Vincent
FIGGINS Simply Type 55
William Morris, (1834-?) Donald Wu
W
illiam Morris was a wealthy artist, poet and designer who helped found the English Arts and Craft movement in the mid-nineteenth century. The Arts and Craft movement was a counter response to the rise of the Industrial development. One of Morris’ greatest accomplishments was when he founded The Kelmscott Press in 1891 at the final phase of his life. His goal for the press was to bring back 15th century art and a sense of private publishing into an industrialized culture. Morris was heavily influenced by the decorative designs of the Pre-Renaissance and the writings of architecture historian, John Ruskin.The Nature of Gothic was an example of John Ruskin’s writing influence on William Morris. In this particular work, Morris displayed his artistic skill and awareness to the spirit of Medieval decorative design. He didn’t necessarily try to copy the floral interlaces of Medieval design, but was able to communicate an idea of what it is with the application of the modern design methods, showcasing regularity in spacing and nearly mechanical perfection of shapes. With the rise of the Industrial Revolution, changing the way of art and design, Morris felt that the quality, care and workmanship in the aesthetic was degrading. Morris crafted his own hand-made paper with similar durability as ones made in the 15th century. He also found his own source of vellum and leather binding materials for book covers. With his craftsman workshop ethic, he manufactured his own ink and type designs as well. Another one of Morris’s great accomplishments was being the first to revive an old Humanist typeface. Having an admiration for Nicolas Jenson’s letterforms, he was influenced to create his own typeface, called the “Golden Type” which he used in the Kelmscott Press productions. Morris sought to revive an appreciation for book design accompanied with an increased appreciation for fine printing, typographic design, and a higher standard of production. With the mind of William Morris and the publications from the Kelmscott Press, a new way of thinking and designing was introduced in the history of visual communication. Morris saw the separation between aesthetic and production methods caused by Industrialism, and he aspired to bridge those two back together. His work had a profound influence in graphic design because he showed that design can be served as a cultural purpose.
A closer look at William Morris’ intricate design in “The Dream of John Ball”.
A Kelmscott Press edition of a chapter of Ruskin’s 1853 treatise on Venetian architecture, designed by William Morris.
William
MORRIS Simply Type 57
Eric Gill, (1882-?) Myrene Gallardo
E
ric Gill was born in Brighton, England on February 22, 1882. He was a sculptor, graphic artist, and mostly known as a type designer. Gill had a knack for drawing at a young age, which led him to study further at Westminster Technical College as an apprentice draftsman for an architect, and later on calligraphy at the Central School of Arts and Crafts. By 1903, Gill left his apprenticeship and joined his influential calligraphy teacher, Edward Johnston. Togetherthey created a business that created inscription and decorative letters that were meant for memorial inscriptions in stone and designed title pages for books. After marrying Ethel Hester Moore in 1904, he moved with his family to Ditchling. There Gill became very involved with the Arts and Crafts organizations. He continued to work on his lettercutting business, and extended his work into wood engravings and sculptures such as the Stations of the Cross for Westminster Cathedral, London. Along with his many accomplishments, Johnston’s influential alphabet for the London Underground became Gill’s inspiration to creating what is today’s most commemorated Humanist Sans faces, Gill Sans. Gill Sans was designed as a display face, but the lucidity ensued it to become more of a text face. It was a monoline form founded upon classic Roman proportions. Contrast to its distinctive commercial typeface, it lacked in some ways that it’s form of sans serif that had been in wide use within sign writing from the late 18th century. The “block” letter had not been expressed in the form of metal type. At the beginning, Gill Sans was designed in a regular and bold weight. Gill Sans has a unique italic font that displays cursive qualities. The heavier weight on the typeface can be used as a text setting showing its appeal and color on the page. Followed by the Gill Sans typeface in 192730, Gill created other types of designs. “In 1925, Gill designed the Perpetua typeface for Morison, who was working for the Monotype Corporation. Its uppercase was based upon monumental Roman inscriptions.” “In the period 1930-31, Gill designed the typeface Joanna which he used to handset his book An Essay on Typography.
The Way of the Cross, 1939. Wood engraving on the cover of Gill’s tract Social Justice and the Stations of the Cross, 1939 (private collection). 168 x 108 mm. Gill used this image of the second Station of the Cross to attack formal religion by showing a bishop, helped by businessmen, placing the cross on Christ’s back
Incised Alphabet (Hopton-Wood Stone) 1932
Eric
GILL Simply Type 59
Stanley Morison, (1889-1967) Ashia Sabbath
T
he infamous typographer designer Stanley Morrison was responsible for some of the most popular typefaces such as the classic Times New Roman, Gills Sans, Times, Poliphilus, and Blado Italic. He was born May 1889 in Wanstead, England. He started out with having no experience in printing or typography. Morison had, what some may call an underprivileged youth and left school at the young age of fourteen to work in an office. He at one point spent sometime in prison for being a conscientious objector to the first world war. After he got through with his imprisonment he decided to convert to Catholicism. Morison believed that his new faith influenced him with his printing strategies. Stanley Morison was self taught, and made himself an expert in the history of typography and laying down letters, words and spacing them to measuring them for the use of book design. In 1919 Morison worked for with the The Pelican Press and there he produced his first typographical study, but soon left three years after than in 1921. He stayed out of a job for the next two year until 1922. It was not until 1923 that Morison was rewarded Typographical Adviser to the Langston Monotype Corporation Ltd. in London. The years past and during that period people saw that Morison had designed book covers for the Victor Gollancz publishing house and that was the beginning of the start of a long association with the Cambridge University Press. On October 3rd, 1932 The Times was Morison’s new typeface, and it was rolling off the presses. The end results were that Times New Roman was designed by Morison and drawn by Victor Lardent. The typeface, Times New Roman is the most successful in Britain and in Europe, of all those cut in recent years by any type-founding or composing machine company. Typesetting technology has evolved since then, but due to its enduring popularity, Times New Roman has always been one of the first fonts available in each new format. Until his Stanley Morison’s death on October 1967 he remained as the typography consultant to the Monotype corporation. Before his death he was the editor-in-chief of the Times Literary Supplement from 18945-1947, and was crowned Royal Designer Designer for Industry in 1960. Pelican Press type specimens, 1924 - Narcissus The Pelican Press was founded in 1916 by Sir Francis Meynell, with the active involvement of Stanley Morison - both of whom where key players in the world of British publishing.
Stanley Morison, Times New Romans, Times New Roman Italic, Times New Roman Bold, Times New Roman Italic Bold, 1931
Stanley
MORISON Simply Type 61
William Thorowgood, (1820-?) Cory Turek
T
he Fann Street Foundry was founded by Thomas Cottrell in 1757 London. Cottrell used to work for William Caslon before they got into a dispute over wages. In 1794 Robert Thorne ended up buying the foundry. At the time there was a demand for letters with heavier forms that were more useful for short and bold text; these became known as slab serifs. Thorne designed fonts that met these needs, but was never able to release them. When he died in 1820, the foundry ended up in Thorowgood’s hands. Thorowgood bought the Fann Street Foundry in an auction with the money he had won in a lottery. He had never been involved in type foundries before this, but he was able to make it successful in the begininning by releasing Thorne’s type faces to the public. To this day, most of the fonts that are under Thorowgood were actually created by Thorne. In Thorowgood’s book “A New Specimen of Printing Types,” he named Thorne’s slab serif faces “Egyptians.” Later on Thorowgood designed and added more type faces such as black letters, Greek, and some foreign faces. He was able to obtain the Russian type faces from the Breitkopt & Hartell foundry in Leipzig, Germany. The style of black letter is sometimes called “fraktur,” which is what it is known as in Germany. The Greek font was made using the simple one-cut strokes found in classical type from Greece. This produced what is known as a sans serif font face today. Thorowgood also named this face Egyptian because the faces had a simple style that he found similar to ancient Egyptian artifacts. There is a lot of confusion between Thorowgood’s and one of Caslon’s type faces because it is called “Two Lines Egyptian.” The strange thing is that there is no known example of the face being used, and the client that it was made for is also unknown. Thorowgood might have been trying something new with serif faces without knowing the importance of what he had created. Either way he created England’s first sans serif type face. In 1828 Thorowgood bought the Edmund Fry foundry which supplied his foundry with more foreign fonts, and Some time after that Robert Besly started working with Thorowgood. Thorowgood retired in 1849, the foundry being taken over Besly.
Elion Regular; an example of a slab serif type face
Fry’s Baskerville; one of the type faces aquired by Thorowgood in 1828
William
THOROWGOOD Simply Type 63
SWISS Simply Type 65
Jan Tschichold, (1902-?) Kristina Kelliher
J
an Tschichold was born in 1902 in Leipzig, Germany. At a very young age his father had exposed him to script writings. He was motivated by fine arts, but did not pursue a career in that field. He later became a teacher for drawing, but decided to go back to school just three years later.Tschichold focused his studies on typeface design and went to the Academy for Graphic Arts in Leipzig. He studied under the professor Hermann Delitsch. Tschichold was hardworking and put many hours into his work. He also developed a writing style that was greatly inspired by Rudolph Koch. As a student, he worked on many commissions and advertisings. Tschichold studied new typography with san-serifs. He felt very passionate about these typefaces. Using his inspiration of Bauhaus and Russian Constructivists, Tschichold began his work on his book titled Die Neue Typographie or “the new typography.” This book focused on new ways of designing type. Unlike German printing that used strict symmetry, Tschichold used a new method of asymmetry in an effective manner. In this book he concentrates on the ideas of function for design and being straight to the point. This new way of laying type was not to show just the words that were presented, but the meaning behind where it is placed. It gives the words a sense of action as with asymmetry, where as symmetry stills it. In March 1933, Tschichold and his wife were captured by German officers. They were sent to prison and accused of creating type that was not of German standards. Germans saw it as a potential threat because san-serif was not widely used. The typography was of Blackletters. After the Nazi party had risen in Germany, Tschichold decided to escape and found himself in Switzerland, but not before much of his work was lost. Tschichold then converted back to classical style type. In the 1940’s he was a typographer for Penguin books in London. He arranged his type to be symmetrical and utilized classic serif faces, but he became an advocate for freedom of artistic expression. Tschichold continued to work on his designs until his death in 1974. He was able to pave the road for new typography in the 20th century. As he worked on classical type, he was also able to humanist ideals for designing books. He made a mark in both traditional and non-traditional graphic design.
A Pamphlet by Jan Tschichold for his book Die Neue Typographie, 1928, which demenstrates his use of asymmetry.
One of Jan Tschichold’s many Penguin books that shows his symmetrical style, late 1940’s.
Jan
TSCHICHOLD Simply Type 67
Max Miedinger, (1910-1980) Austin Michaud
M
ax Miedinger was trained as a typesetter in Zurich, Switzerland from 1926-1930. He then attended classes at Kunstgewerbeschule in Zurich. In 1936 he was hired by Globus as a typographer for the department store’s advertising studio in Zurich. In 1947 he left and began working as a customer councelor and typeface sales representative for Haas’sche Schriftgiegerei in Mtinchenstien. However, in 1956 he left that job and began his life as a freelance graphic designer. Later that year Eduard Hoffman, the director of the Haas type foundry, hired Miedinger to create a sans serif typeface. Miedinger finished his design in 1958 and introduced the roman version of Haas-Grotesk. This typeface was based on the Akzidenz Grotesk typeface from 1898. In 1961 D. Stemple AG foundry purchased the typeface, added some different weights, and renamed it Helvetica. They decided on the name Helvetica because the Latin word for Switzerland is “Helvetica”. Helvetica soon became the symbol of the Swiss school of typography causing the typeface to become an immediate success. Helvetica’s reinterpretation of earlier serifless typefaces makes it easier to read by relying on clear horizontal and vertical strokes. Helvetica is now owned by Linotype, however, other companies have their own knock off typeface such as Microsoft’s “Arial”. Since the change from Miedinger’s Haas Grotesk to D. Stemple AG’s Helvetica in 1961 the typeface has been very successful. Helvetica has since grown more popular and now can be seen in many different places. The typeface is so popular most people may not realize they’ve seen it. Helvetica occurs everywhere, from advertising, to currency, and the internet. The typeface clearly more popular than Miedinger himself but it’s important to know where the most common typeface in the world came from.
A poster exhibiting different weights styles of Helvetica.
Helvetica being used as a design.
Max
MIEDINGER Simply Type 69
APPENDIX Simply Type: Appendix 71
In typographic terms, the label Humanist refers to the design of the strokes of the letterforms. They were created using the handwriting found in Italy in the late 15th century.Their relatively small body size, irregular outlines, and smaller counters; all of which Humanist typefaces, less legible at smaller point sizes. Historically, Humanist typefaces enjoy only a short run before falling away for nearly 500 years. Characteristics of Humanist typefaces include: 1. Gradual contrast between heavy and light strokes 2. Slanted crossbars, such as the lowercase “e� 3. Ascenders that match capital letter heights 4. Small counters 5. Oblique serifs on lowercase and foot
Aeg ascenders
crossbar
serif
Lucida Grande pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
HUMANIST
crossbar
Aeg counters
Typefaces were the next evolutionary step in the development of type during the 16th century. When analyzing Garalde typefaces, it is apparent that there is still a subtle influences from the penstrokes of the written word, however, the advancement in technology is clearly visible. Garlde typefaces have a considerable variation of form according to their point size. Garalde typefaces had a lifespan of about 200 years and are still used today because of their high legibility.
tapered ear
Characteristics of Garalde typefaces include: 1. Medium contrast between strokes 2. Horizontal crossbars 3. Tapered ear 4. Generous counters
Adobe Garamond pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
GARALDE Simply Type: Appendix 72
Aeb medium x-height
minimal contrast
The period of Humanist Sans faces are based on a classical or early Humanist model, in which the proportions are based off of the Roman capital letter. These typefaces function well for the setting of extended lines of texts, even though they do not, as a rule, provide for very economical setting because most have a lower x-height than the Grotesques. Humanist Sans heavier weights make it quite effective for them to be used for smaller quantities of text, and benefit from generous leading.
light weight
wide lower bowl
Characteristics of Humanist Sans typefaces include: 1. Minimal contrast 2. Medium x-heights 3. Wide lower bowl 4. Light weight
Myriad pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
HUMANIST SANS
The early faces were developed om the 19th century and evolved from display type, signwriting, and architectural lettering. Although some features are modern, the main structuring of the letters go back to classical times. Grotesques combine great legibility with visual interest and are adapted to a variety of functions. Their origins as large-size display types mean that they work. quite well at scale. Characteristics of Grotesque typefaces include: 1. Little contrast 2. Some variation in stroke width at junctions 3. Sans serif
Aeg san serif
light contrast
Helvetica pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
GROTESQUE Simply Type: Appendix 73
The early highlights the second generation, designed in the 1950’s and included a key component of Swiss Typography and international modernist style. This period appears to be more mechanical than the earlier forms. Neo-grotesque typefaces functions better at smaller sizes than most of the other forms of sans serif, and they’re among the most suitable sans serif faces for long text settings. Their extended typefaces families and range of weights suit the for particular display work.; Characteristics of Neo-Grotesque typefaces include: 1. Little variation of stroke width 2. Slightly condensed form 3. High x-height 4. Well defined counters
Aa G condensed form
x-height
stroke width
Impact pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
defined counter
NEO-GROTESQUE
Abk half serif
open bowl
narrow set
fine point serif
Typefaces are so named due tot heir resemblance to cut or chisled letterforms. Designers have been creating Glyphic typefaces since 1902 and continue to do so to this day. The letterforms graphically straddle between Roman and Blackletter vocabularies. They characteristically all-capital letters designs make the Glyphic category ideal for such things as posters, book covers, and jacket, or other display type uses. Characteristics of Glyphic typefaces include: 1. Half serif on base of diagonals 2. All-capital letterforms 3. Open bowl 4. Fine- pointed serifs 5. Narrow set
Palatino pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
GYLPHIC Simply Type: Appendix 74
Aeb medium x-height
minimal contrast
light weight
wide lower bowl
In typography term Transitional refers to the transition form the Garalde typefaces to the Didone typefaces. Transitional typefaces primarily emerged during the 18th century in France and England. They exude the refinement of form and greater detail that was made possible by the developments in printing technology. Characteristics of Transitional typefaces include: 1. Medium contrast between thick and thin letterstrokes 2. Horizontal bar on lowercase “e� 3. The serifs of acsenders of lowercase letter are slightly slanted 4. Generous counters 5. Serifs are generally sharp and bracketed
Baskerville pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdef ghijklmnopqrstuvwxyz
TRANSITIONAL
Typefaces, also known as Modern, emerge during the late 18th and early 19th century primarily in Italy and France. Increased precision in printing technology allowed for the development of this new genre of typefaces. Didone typefaces exude qualities that relate to sophistication and exclusivity. Characteristics of Didone typefaces include: 1. Stress is vertical 2. Abrupt contrast between thick and thin letterstrokes 3. Ascender and foot serifs of lowercase letter are horizontal 4. Horizontal serifs are fine (almost hairline) and usually bracketed 5. Narrow set width in most cases
Aeg san serif
Narrow set
light contrast
Didot pt. 24 A B C D E F G H I J K L M N O P Q R ST UVW XY Z abcdefghijklmnopqrstuvwxyz
DIDONE Simply Type: Appendix 75
contradictory features
AbE
Typefaces emerged in the late 20th century and remain some of the most playful and unique typefaces today. They remain interest and popular because they question traditional aesthetics of type design and provoke debate, Graphic typefaces are most commonly used for display faces because their legibility and readability is next to none when set in a smaller point sizes.
abstract profiles
Characteristics of Graphic typefaces include: 1. Contradictory features 2. Inconsistent forms 3. Abstracted profiles 4. Hybridized features
hybridized features
Caslon pt. 24 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
GRAPHIC Simply Type: Appendix 76
Simply Type: Appendix 77
BIOGRAPHIES Simply Type: Appendix 79
Simply Type: Biographies 83
Simply Type: Biographies 81
BIBLIOGRAPHIES Simply Type: Bibliographies 83
FRANCE
Claude Garamond (Myrene Gallardo) Hill, Will. The Complete Typographer: A Manual for Designing with Type. Upper Saddle River, NJ: Pearson Prentice Hall, 2010. Print Infoplease. Infoplease, n.d. Web. 20 Feb. 2013.<http://www.infoplease.com/encyclopedia/people/garamond-claude.html> Krueger, Karl K. “Type Can Talk!” The Rotarian 1948: 36. Web. 20 Feb. 2013Loxley, Simon. Type: The Secret History of Letters. N.p.:n.p., 2006. 40-42 Web. 20 Feb. 2013 Nicholas Jenson (Joseph Flores) Meggs, Philip B., Purvis, Alston W. History of Graphic Design. Hoboken, N.J: Wiley, 2006. Lommen, Mathieu, and Cees De. Jong. The Book of Books: 500 Years of Graphic Innovation. London: Thames & Hudson, 2012. Print. “De Evangelica Praeparatione.” De Evangelica Praeparatione. N.p., n.d. Web. 17 Feb. 2013. <http://www.codex99.com/typography/127.html>. DT&G Typography. “Type, Typography and Fonts.” Type, Typography and Fonts. DT&G Typography, n.d. Web. 17 Feb. 2013. <http://www.graphic-design. com/Type/typography.html>. Simon De Colines (Madeline Hennelly) “Harold B. Lee Library.” World History Culture LTPSC RSS. N.p., n.d. Web. 20 Feb. 2013. Schreiber, Fred. Simon De Colines: An Annotated Catalogue of 230 Examples of His Press, 1520-1546. Provo, UT: Friends of the Brigham Young University Library, 1995. Print. “Simon De Colines.” « MyFonts. N.p., n.d. Web. 20 Feb. 2013. “Simon De Colines (French Printer).” Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 20 Feb. 2013. Vervliet, Hendrik D. L. French Renaissance Printing Types: A Conspectus. London: Bibliographical Society, 2010. Print. Geoffory Tory (Kristina Kelliher) Moses, James Oscar. Le “Champ Fluery” De Geofferoy Tory, Edition Documentaire Avec Une Introduction, Des Notes Explicatives Et Un Glossaire. Austin Texas: The University of Texas, 1980. 347. Print. Ivans, Jr., William M. Geoffory Tory. 15. The Metropolitan Museum of Art, 1920. 79-86. Print. Smedresman, Gabe. “Geofroy Tor’ys Champ fluery in the context of the renaissance reconstruction of the Roman capital alphabet.” (2008): n. page. Print. <http://highbeam.com> Pierre Simon Fournier (Shelby Norman) “The Complete Typographer” Will Hill, Pearson Prentice Hall “Fournier on Typefounding” Pierre Simon Fournier, Lenox Hill/Burt Franklin http://www.britannica.com/EBchecked/topic/215166/Pierre-Si mon-Fournier Firmin & Francois Didot MacMillan, Neil. An A-Z of Type of Designers. New Haven, CT: Yale University Press, 2006. Print. Stubbs, K.L. “Didot Family.” Encyclopedia of Library and Information Science. Ed. AllenKent and Harold Lancour. Vol 7. New York: Marcel Dekker, 1972. 207-09. Print.
GERMANY
Paul Renner (Amanda Lancey) “Aldus Manutius the Elder (Italian Printer).” Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web.20 Feb. 2013. “Aldus Manutius.” Wikipedia. Wikimedia Foundation, 16 Feb. 2013. Web. 20 Feb. 2013. Barolini, Helen. Aldus and His Dream Book: An Illustrated Essay. New York: Italica, 1992. Print. Burke, Christopher. Paul Renner: The Art of Typography. New York: Princeton Architectural, 1998. Print. “Futura (typeface).” Wikipedia. Wikimedia Foundation, 02 June 2013. Web. 20 Feb. 2013. Leonard, Charles C. Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing. Saarbrücken, Germany: VDM Verlag Dr. Müller, 2008. Print. “Paul Renner.” Wikipedia. Wikimedia Foundation, 18 Jan. 2013. Web. 20 Feb. 2013. Williams, Robin, and Robin Williams. The Non-designer’s Design & Type Books: Design and Typographic Principles for the Visual Novice. Berkeley, CA: Peachpit, 2008. Print. Johann Faust & Peter Schoeffer (Tim Dilch) http://smu.edu The Printing Revolution In Early Modern Europe by Elizabeth L. Eisenstein Dictionary of Printers & Printing by Timperly Type : a visual history of typefaces and graphic styles Author: Alston W Purvis; Cees de Jong Encyclopædia Britannica Eleventh Edition * http://commons.wikimedia.org
ITALY
Giambattista Bodoni (Paulina Partyka) Consuegra, David. Classic Typefaces: American Type and Type Designers. New York: Allworth, 2011. Print. Hill, Will, and Christopher Perfect. The Complete Typographer: A Manual for Designing with Type. Upper Saddle River, NJ: Person Prentice Hall, 2005. Print. “Something Standard by Steve Wilcox and Andreas Neophytou.” Something Standard by Steve Wilcox and Andreas Neophytou. N.p., n.d. Web. 17 Feb. 2013.
Simply Type: Bibliographies 84
USA
Darius Wells (Alice Werley) Haley, Allan, Richard Poulin, Tony Seddon, and Jason Tselentis. Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography. Beverly, MA: Rockport, 2012. Print. Shields, Prof. David. “What Is Wood Type?” Hamilton Wood Type Printing Museum RSS. Hamilton Wood Type Museum, 2013. Web. 11 Feb. 2013. Ottmar Mergenthaler (Erica Camaren) Basil Kahan and Carl Schlesinger. Ottmar Mergenthaler: The Man and His Machine. New Castle, DE: Oak Knoll Press. 2000. 244pp. Ottmar Mergenthaler. Biography of Ottmar Mergenthaler and History of the Linotype, Its Invention and Development. Baltimore, MD: Ottmar Mergenthaler. 1898. 71pp. “The Baltimore Literary Heritage Project.” Otto Mergenthaler. University of Baltimore School of Communications Design, n.d. Web. 19 Feb. 2013. <http://baltimoreauthors.ubalt.edu/writers/ottomergenthaler.htm>. William Ludlow (Tim Dilch) kickstarter.com Type & Typography By Phil Baines, Andrew Haslam The Ludlow Typograph By Fred Williams American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll Books, 1993 http://www.youtube.com/watch?v=gCKeAIkNm7M http://www.edenworkshops.com/type_caster.html http://www.woodsidepress.com/LUDLOW.HTML Linn Boyd & Morris Fuller Benton (Joseph Flores) Cost, Patricia A., Ms. The Bentons: How an American Father and Son Changed The Printing Industry. Rochester: RIT Cary Graphic Art, n.d. Print. Baines, Phil, and Andrew Haslam. Type & Typography. New York: Watson-Guptill Publications, 2005. Print. MacMillan, Neil, Mr. An A-Z of Type Designers. N.p.: n.p., n.d. Print. Graphic Design History. “Type Technologies Speed the Making of Type.” Type Technologies Speed the Making of Type. Graphic Design History, n.d. Web. 17 Feb. 2013. <http://www.designhistory.org/Type_milestones_pages/Panatograph.html>. Linotype. “Font Designer Linn Boyd Benton.” Linn Boyd Benton. Linotype, n.d. Web. 17 Feb. 2013. <http://www.linotype.com/2382/linnboydbenton. html>. Bruce Rogers (Madeline Hennelly) Bruce Rogers Bibliography “Bruce Rogers (American Typographer).” Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 20 Feb. 2013. Hill, Will. The Complete Typographer: A Foundation Course for Graphic DesignersWorking with Type. London: Thames & Hudson, 2010. Print. Rogers, Bruce. The Centaur Types. Chicago: October House, 1949. Print. Frederic Goudy (Derek Green) Bruckner, D. J. R., and Frederic William. Goudy. Frederic William Goudy. New York: Abrams, 1990. Print. “Frederic W. Goudy.” Frederic W. Goudy. N.p., n.d. Web. 20 Feb. 2013. Goudy, Frederic W., and Paul A. Bennett. Goudy’s Type Designs: His Story and Specimens. New Rochelle, NY: Myriade, 1978. Print. Matthew Carter (Donald Wu) Earls, David. Designing Typefaces. Hove: RotoVision, 2002. Print. Hill, Will. The Complete Typographer: A Manual for Designing with Type. 3rd ed. Upper Saddle River, NJ: Person Prentice Hall, 2010. Print. Sherman, Nick. “Nick Sherman Articles Bell Centennial.” Web log post. Nick Sherman Articles Bell Centennial. N.p., n.d. Web. 18 Feb. 2013. <http:nicksherman.com/articles/bellCentennial.html>. Robert Middleton (Alice Werley) Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. Hoboken, NJ: John Wiley & Sons, 2012. Print. Thompson, George. “Robert Hunter Middleton.” Robert Hunter Middleton. Typohile, 6 Nov. 2005. Web. 10 Feb. 2013. Carol Twombly (Sarah Swenson) “American Type Design and Designers.”N.p., n.d. Web. 09 Apr. 2013 “Communication Design Blog: How Carol Twombly Asserted the Formal Characteristics of Classical Typeface Design into the Design of Typefaces at the Dawn of the Digital Age.” N.p., n.d. Web. 09 Apr. 2013. “Adobe Store - Carol Twombly.” Adobe -. N.p., n.d. Web. 09 Apr. 2013. Carlos Segura (Kimberly Sula) Drate, Spencer, Juka Salavetz, and Mark Smith. Cool Type. Cincinnati, OH: North Light, 1997. Print. Fiell, Charolette, and Peter Fiell. Contemporary Graphic Design. Hong Kong: Taschen, 2007. Print. “The Founders.” Segura Inc.:About. Segura Inc., 2013. Web. 13 Feb. 2013. <http://www.segura-inc.com/about>. Herb Lubalin (Paulina Partyka) “Herb Lubalin : La Revue U&LC.” Rocbo : Typographie, Herb Lubalin La Revue U&LC. N.p., n.d. Web. 17 Feb. 2013. Macmillan, Neil. An A-Z of Type Designers. New Haven, CT: Yale UP, 2006. Print. Snyder, Gertrude, Herb Lubalin, and Alan Peckolick. Herb Lubalin: Art Director, Graphic Designer, and Typographer. New York: American Showcase, 1985. Print.
Simply Type: Bibliographies 85
ENGLAND
John Baskerville (Ashia Sabbath) Benton, Josiah H. John Baskerville, Type-founder and Printer, 1706-1775. New York: B. Franklin, 1968. Print. Straus, Ralph, and Robert K. Dent. John Baskerville; a Memoir,. Cambridge [Eng.: Printed at the UP for Chatto and Windus, 1907. Print. http://typophile.com/node/14119 William Caslon (Kimberly Sula) Ball, Johnson. William Caslon: 1693-1766; The Ancestry, Life and Connections of England’s Foremost Letter Engraver and Type Founder. Kineton: Roundwood Pr., 1973. Print. Bartram, Alan. Typeforms: A History. London: British Library, 2007. Print. Cousins, Ryan. “Willaim Caslon I-IV Book.” Cargocollective.com. Cargo Collective Inc., OCt. 2008. Web. 13 Feb. 2013. <https://cargocollective.com/ ryancousins/william-caslon-I-IV-Book>. “Great Designers: William Caslon.” Great Designers. Wordpress.com, 21 July 2009. Web. 13 Feb. 2013. <http://greatdesigners.wordpress. com/2009/07/21/great-designer-william-caslon/>. Vincent Figgins (Sarah Swenson) Macmillan, Neil (2006). An A-Z of type designers. Yale University Press New Haven Baines Reed, Talbot (2010). A history of the old English letter foundries. Cambridge University Press Devroye, Luc. “Vincent Figgins.” Vincent Figgins. McGill University Vincent Figgins 1766- 1844 William Morris (Donald Wu) Allen, Nancy S. “William Morrris and His Private Press.” William Morrris and His Private Press. N.p., n.d. Web. 18 Feb. 2013. <http://designhistory. org/Arts_Crafts_pages/Morris.html>. Drucker, Johanna, and Emily McVarish. Graphic Design History: A Critical Guide. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. Print. Hill, Will. The Complete Typographer: A Manual for Designing with Type. 3rd ed. Upper Saddle River, NJ: Person Prentice Hall, 2010. Print. Eric Gill (Myrene Gallardo) Cribb, Ruth, and Joe Cribb. Eric Gill: Lust for Letter & Line. London: British Museum, 2011. Print. “Eric Gill Biography.” The Eric Gill Society. N.p., n.d. Web. 19 Feb. 2013. <http://www.ericgill.org.uk/Gill/eric-gill-biography>. Hill, Will. The Complete Typographer: A Manual for Designing with Type. Upper Saddle River, NJ: Pearson Prentice Hall, 2010. Print. Holms, Nigel. “Eric Gill: Cut In Stone.” Visual Communication Quarterly 15.1/2 (2008): 44-49. Communication & Mass Media Complete. Web. 19 Feb. 2013 Stanley Morsison (Ashia Sabbath) Morison, Stanley. A Tally of Types. Cambridge [Eng.: University, 1973. Print. Morison, Stanley. Letter Forms, Typographic and Scriptorial: Two Essays on Their Classification, History, and Bibliography. London: Nattali & Maurice, 1968. Print. http://www.rodwell.pwp.blueyonder.co.uk/morison.htm William Thorowgood (Corey Turek) Consuegra, David. American Type: Design & Designers. New York: Allworth, 2004. Print. Loxley, Simon. Type: The Secret History of Letters. London: I.B. Tauris, 2004. Print. Thompson, G. “William Thorowgood | Typophile.” William Thorowgood. Typophile, 9 Dec. 2005. Web. 18 Feb. 2013. <http://typophile.com/ node/16722>.
SWISS
Jan Tschichold (Austin Michaud) Hill, Will. The Complete Typographer: A Manual for Designing with Type. Upper Saddle River, NJ: Pearson Prentice Hall, 2010. Print. “Jan Tschichold : Design Is History.” Jan Tschichold : Design Is History. N.p., n.d. Web. 20 Feb. 2013. Meggs, Philip B., Alston W. Purvis, and Philip B. Meggs. Meggs’ History of Graphic Design. Hoboken, NJ: John Wiley & Sons, 2012. Print. Rosen, Ben. Treasury of Alphabets and Lettering: A Source Book of the Best Letter Forms of past and Present for Sign Painters, Graphic Artists, Commercial Artists, Typographers, Printers, Sculptors, Architects, and Schools of Art and Design. New York: Norton, 1992. Print. Max Miedinger (Kristina Kelliher) “Helvetica and Max Miedinger”, Frank J. Romero “From Gutenberg to opentype : an illustrated history of type from the earliest letterforms to the latest digital fonts”, Robin Dodd linotype.com/522/maxmiedinger
Simply Type: Bibliographies 86