2015
Typographic Calander
2015
Typographic Calander
January
3 Saturday
1 Thursday
2 Friday
January Tuesday Wednesday
Monday
Sunday
Sunday
4 Monday
Wednesday
5 7
Tuesday
6
9
Thursday
8
10
January
Friday
Saturday
17 Saturday
15 Thursday 16 Friday
12 Monday
11 Sunday
13 Tuesday 14 Wednesday
January
Sunday
18 Monday
Wednesday
19
Tuesday
21
Thursday
23
22
24
January 20
Friday
Saturday
31 Saturday
29 Thursday 30 Friday
26 Monday
25 Sunday
27 Tuesday 28 Wednesday
January
Adobe Caslon Pro Original: William Caslon, Revival: Carol Twombly (see Jun)
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January
William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType Pro version merges formerly separate fonts (expert, etc.), and adds both central European language support and several additional ligatures. Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications.
William Caslon I was the first British typefounder of any renown and was responsible for ending the dependence of British printers on imported Dutch types which (with some French types) had dominated the market throughout the 17th century. Born in Wo r c e s t e r s h i r e , William Caslon began his career in London engraving and chasing gun barrels (occasionally also cutting brass letters for bookbinders) until a printer called William Bowyer, after seeing some of his letters, encouraged him to try punch-cutting. Bowyer lent him €500 to start his own foundry, which he opened in London’s Vine Street probably in 1722 or 1723. In 1734 the foundry moved to Chiswell Street, where Caslon published his famous specimen sheet showing a full range of the roman types he cut. His work found particular favour in America, and Caslon type was used by Mary Katherine Goddard of Baltimore for printing the Declaration of Independence.
February
7 Saturday
5 Thursday
6 Friday
February 3 Tuesday 4 Wednesday
2 Monday
1 Sunday
Sunday
8 Monday
Wednesday
9 Tuesday
11
Thursday
13
12
14
February 10
Friday
Saturday
21 Saturday
19 Thursday 20 Friday
16 Monday
15 Sunday
17 Tuesday 18 Wednesday
February
Sunday
22 Monday
Wednesday
23 Tuesday
25
Thursday
27
26
28
February 24
Friday
Saturday
2012 Last
Leap Years
(3) The year is also evenly divisible by 400. Then it is a leap year.
(2) If the year can be evenly divided by 100, it is NOT a leap year, unless;
(1) The year is evenly divisible by 4;
In the Gregorian calendar 3 criteria must be taken into account to identify leap years:
2016 Next 2020 Future
February
How It Works http://www.timeanddate.com/date/ leapyear.html
Franklin Gothic Book Designer: Morris Benton
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advertisements, posters, and anyplace with space restrictions.
February
standards. ITC Franklin Condensed provides medium weights of narrow proportions. It is frequently seen in newspapers,
Gothic Compressed is designed especially to solve impossibly tight copyfitting problems, while maintaining high legibility
advertising. In 1991, David Berlow completed the family for ITC by creating compressed and condensed weights. ITC Franklin
proportions of the new version result in greater economy of space. This typeface is a standard choice for use in newspapers and
version adheres closely to the subtle thick and thin pattern of the original design; the slightly enlarged x-height and condensed
American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC. This
Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for
Morris Fuller Benton is accredited with being the most prolific type designer in American history, with an output twice as great as that of Frederic Goudy (although in fairness Goudy did not start his career until a later age). A factor in his relative anonymity was his position as an inhouse designer, but in a position that suited his retiring character: when pressed he would put his successes down to ‘Lady Luck’. Benton has been credited with inventing the concept of the type family and although this is not the case he did do his best work expanding faces into families and adapting existing type styles for ATF. Between 1900 and 1928 he designed 18 variations on Century, zincluding the popular Century Schoolbook.
March
Friday
6
March
Saturday
7
Thursday
Tuesday
5
Wednesday
3
4
1 Monday 2 Sunday
8 Sunday 9 Monday
10 Tuesday 11 Wednesday
12 Thursday
March
13 Friday 14 Saturday
Friday Saturday
20
March
21
Thursday
Tuesday
19
Wednesday
17
18
15 Monday 16 Sunday
22 Sunday 23 Monday
24 Tuesday 25 Wednesday
26 Thursday
March
27 Friday 28 Saturday
Friday
March
Saturday
Thursday
Tuesday Wednesday
31
29 Monday 30 Sunday
Original: Claude Garamond Revival: Robert Slimbach (see Jul)
Adobe Garamond Pro
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March
An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon. Since its release in 1989, Adobe Garamond has become a typographic staple throughout the world of desktop typography and design. Adobe type designer Robert Slimbach has captured the beauty and balance of the original Garamond typefaces while creating a typeface family that offers all the advantages of a contemporary digital type family. With the introduction of OpenType font technology, Adobe Garamond has been reissued as a Pro type family that takes advantage of OpenType’s advanced typographic capabilities. Now this elegant type family can be used with even greater efficiency and precision in OpenType-savvy applications such as Adobe InDesign.
A native of Paris, Garamond was an engraver and letter founder of high repute. He was regarded as the best typecutter of his day. He was commissioned by King Francis First of France to make a new cast of type for his own exclusive use, now known as Grecs du Roi. Garamond was the first to produce a reworking of the earlier typefaces of Aldus Manutius, creating a face called Garamond. This small roman type became the standard European type of the day and was still in use in the 18th century. During most of the 20th century, most leading foundries around the world have redrawn their own versions of Garamond’s typeface, and Garamond’s roman is still regarded today as one of the classic typefaces.
April
April
Friday Saturday
3 4
Thursday
Tuesday
2
Wednesday
1
Monday
Sunday
5 Sunday 6 Monday
7 Tuesday 8 Wednesday
9 Thursday
10 Friday 11 Saturday
April
April
Friday Saturday
17 18
Thursday
Tuesday
16
Wednesday
14
15
12 Monday 13 Sunday
19 Sunday 20 Monday
21 Tuesday 22 Wednesday
23 Thursday
24 Friday 25 Saturday
April
April
Friday Saturday
Thursday
Tuesday
30
Wednesday
28
29
26 Monday 27 Sunday
Helvetica Neue
Original: Max Miedinger Revival: D. Stempel AG
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April
The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first
one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in
1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® design, which was a re-working
of the 1957 original. The outcome was a synthesis of aesthetic and technical refinements and modifications that
resulted in improved appearance, legibility and usefulness.
Max Miedinger, born in Zurich, was an inhouse designer with the Haas foundry in Munchenstein, Switzerland. His most famous typeface is Helvetica, currently one of the most widely used sans serifs, which was designed in 1956. Edward Hoffman of Haas had asked Miedinger to adapt the existing Haas Grotesk to bring it in line with current taste. Haas Grotesk had its origins in the 19th-century German grotesques like Berthold’s AkzidenzGrotesk. The type, which was created from Miedinger’s china-ink drawings, seemed like a new design in its own right, rather than an old one with minor retouching as had been the original plan. Although designed for the home market, the then-called Neue Haas Grotesk proved popluar farther afield. When Stempel AG in Germany released the face in 1961 they called it Helvetica, the traditional Latin name for Switzerland, in order to capitalize on the fashion for Swiss typography. Additional weights were added to the Helvetica family over the years. In 1983 Linotype released a new,more extensive version, Neue Helvetica, in 51 weights.
May
May
Friday Saturday
1 2
Thursday
Tuesday Wednesday
Monday
Sunday
3 Sunday 4 Monday 5 Tuesday 6 Wednesday 7 Thursday
8 Friday 9 Saturday
May
May
Friday Saturday
15 16
Thursday
Tuesday
14
Wednesday
12 13
10 Monday 11 Sunday
17 Sunday 18 Monday 19 Tuesday 20 Wednesday 21 Thursday
22 Friday 23 Saturday
May
May
Friday Saturday
29 30
Thursday
Tuesday
28
Wednesday
26 27
24 Monday 25 Sunday
Century Schoolbook
work where legibility is a primary consideration.
May
between 1918 and 1921. Century Schoolbook is still seen in elementary school texts, and can be used for text
researched the subjects of eyesight and legibility, then created Century Schoolbook, which was released
commissioned American Type Founders to design a typeface with maximum legibility. Morris Benton
Another version of the Century family was produced when Ginn & Company, a textbook publisher,
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Monday
31 Sunday
Designer: Morris Benton (see Feb)
June
Sunday
1 3
Monday
Wednesday
Tuesday
2
Friday
5
Thursday
4 Saturday
6
June
June
12 Friday
11 Thursday 13 Saturday
9 Tuesday
8 Monday
7 Sunday
10 Wednesday
Sunday
Wednesday
Monday
14 17
Tuesday
15 16
Friday
19
Thursday
Saturday
18 20
June
June
26 Friday
25 Thursday 27 Saturday
21 Sunday 22 Monday 23 Tuesday
24 Wednesday
Sunday
Wednesday
Monday
28 Tuesday
29 30
Friday
Thursday
Saturday
June
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Carol Twombly studied design at the Rhode Island School of Design, where she became interested in type design and typography. She received an MS from Stanford University in the graduate programme of digital typography under Charles Bigelow, and later joined the Bigelow & Holmes Studio. In the Morisawa Typeface Design Competition in 1984 she won first prize for Mirarae, a latin design which has since been licensed and released. A member of the Adobe type studio since 1988, Twombly has designed many successful display and text typefaces for the Adobe Originals library. In 1994 she was the first woman to receive from ATypI the Prix Charles Peignot for outstanding contributions to type design.
type family can be used with even greater efficiency and precision in OpenType-savvy applications such as Adobe InDesign.
been reissued as a Pro type family that takes advantage of OpenType’s advanced typographic capabilities. Now this elegant
advantages of a contemporary digital type family. With the introduction of OpenType font technology, Adobe Garamond has
captured the beauty and balance of the original Garamond typefaces while creating a typeface family that offers all the
a typographic staple throughout the world of desktop typography and design. Adobe type designer Robert Slimbach has
types of Claude Garamond and the italic types of Robert Granjon. Since its release in 1989, Adobe Garamond has become
An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman
June
Designers: Carol Twombly Robert Slimbach (see Jul)
Myriad Pro
July
Sunday
Wednesday
Monday
1
Tuesday
Friday
3
Thursday
2 Saturday
4
July
10 Friday
9 Thursday
July
11 Saturday
7 Tuesday
6 Monday
5 Sunday
8 Wednesday
Sunday
Wednesday
Monday
12 15
Tuesday
13 14 Friday
17
Thursday
Saturday
16 18
July
July
24 Friday
23 Thursday 25 Saturday
19 Sunday 20 Monday 21 Tuesday
22 Wednesday
Sunday
Wednesday
Monday
26 29
Tuesday
27 28 Friday
31
Thursday
Saturday
30
July
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Robert Slimbach, who was born in Evanston, Illinois, received his training and early experience of type design in the drawing office of Autologic in California. In 1987, after two years of self-employment, which saw him contribute ITC Slimbach and ITC Giovanni to the International Typeface Corporation, he joined Adobe Systems. Since then, he has been designing and developing typefaces for the Adobe Originals program. Slimbach’s typefaces offer type users a rich palette of designs, mostly for text use, based on his enthusiasm for classic letter forms. In 1999 he received the Prix Charles Peignot from the Association Ty p o g r a p h i q u e Internationale for excellence in type design.
ranging from limited-edition books to newsletters to packaging.
and Cyrillic. With its many ligatures, small caps, oldstyle figures, swashes, and other added glyphs, Minion Pro is ideal for uses
three weights and two widths, each with optical size variants, and each supporting a full range of Western languages, including Greek
unprecedented flexibility and typographic control, whether for lengthy text or display settings. The full Minion Pro family contains
aesthetic and functional qualities that make text type highly readable with the versatility of OpenType digital technology, yielding
style typefaces of the late Renaissance, a period of elegant, beautiful, and highly readable type designs. Minion Pro combines the
additions were released in 1992, and finally the OpenType Pro version was released in 2000. Minion Pro is inspired by classical, old
Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of Minion was released in 1990. Cyrillic
July
Designer: Robert Slimbach
Minion Pro
August
Sunday
Wednesday
Monday Tuesday
Friday
Thursday
Saturday
1
August
6 Thursday
7 Friday
August
8 Saturday
4 Tuesday
3 Monday
2 Sunday
5 Wednesday
Sunday
Monday
Wednesday
9 12
Tuesday
10 11
Friday
14
Thursday
Saturday
13 15
August
August
21 Friday
20 Thursday 22 Saturday
16 Sunday 17 Monday 18 Tuesday
19 Wednesday
Sunday
Wednesday
Monday
23 26
Tuesday
24 25
Friday
28
Thursday
Saturday
27 29
August
30 Sunday 31 Monday
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Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it very legible and readable in text and display work. The condensed, bold, and display versions are excellent for packaging or posters.
August
Designer: Eric Gill (see Sep)
Gill Sans MT
September
Monday
Sunday
5 Saturday
2 Wednesday 3 Thursday
1 Tuesday 4 Friday
September
11
12
Thursday
Tuesday
September Friday
Saturday
8
Wednesday
10
9
Sunday 6 7
Monday
15 Tuesday 18 Friday
19 Saturday
16 Wednesday 17 Thursday
13 Sunday 14 Monday
September
25
26
Thursday
Tuesday
September Friday
Saturday
22
Wednesday
24
Sunday 20 21
Monday
23
Thursday
29 Tuesday
30 Wednesday
27 Sunday 28 Monday
Saturday
Friday
September
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Type designer Eric Gill’s most popular Roman typeface is Perpetua, which was released by the Monotype Corporation between
1925 and 1932. It first appeared in a limited edition of the book The Passion of Perpetua and Felicity, for which the typeface was
named. The italic form was originally called Felicity. Perpetua’s clean chiseled look recalls Gill’s stonecutting work and makes it
an excellent text typeface, giving sparkle to long passages of text; the Perpetua capitals have beautiful, classical lines that make
this one of the finest display alphabets available.
Arthur Eric Rowton Gill, letter-cutter, sculptor, wood-engraver and type designer, was one of the most prominent and controversial figures of his day. Born in Brighton, Gill studied at Chichester School of Art before being apprenticed to an ecclesiastical architect in London. Whilst there he attended the classes of the calligrapher Edward Johnston at the Central School of Arts and Crafts. Thus he became involved in the small world of scribes and illuminators and the Arts and Crafts Movement, embarking on a career as a stone cutter and letterer. Gill designed his first typeface at the invitation of Stanley Morison of the Monotype Corporation. The drawings for the type, Perpetua, were begun in 1925. Gill Sans, designed during the same period, was based on the same sources as the Johnston Sans Serif. Gill had painted san-serif lettering on the Douglas Cleverdon’s Bristol Bookshop in 1927 and it was this that suggested the idea of a Gill sans serif to Morison. Joanna was cut by the Caslon foundry; one of its first uses in 1931 was for Gill’s own Essay on Typography. These three typefaces are from his most creative period.
September
Perpetua
Designer: Eric Gill
October
Monday
Sunday
1 Thursday
Wednesday
Tuesday
3 Saturday
2 Friday
October
9
October
Friday
Saturday
Tuesday
Thursday
10
6
Wednesday
8
7
Sunday 4 5
Monday
13 Tuesday
16 Friday 17 Saturday
14 Wednesday 15 Thursday
11 Sunday 12 Monday
October
23
October
Friday
Saturday
Tuesday
Thursday
24
20
Wednesday
22
Sunday 18 19
Monday
21
27 Tuesday
30 Friday 31 Saturday
28 Wednesday 29 Thursday
25 Sunday 26 Monday
October
October
Century Gothic Designer: Sol Hess
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Century Gothic Regular fonts maintains the basic design of 20th Century but has an enlarged ‘x’ height
and has been modified to ensure satisfactory output from modern digital systems. A design based on
20th Century, which was drawn by Sol Hess between 1936 and 1947. The Century Gothic Fonts Regular
design is influenced by the geometric style sans serif faces which were popular during the 1920’s and 30’s.
Century Gothic Fonts Regular is useful for headlines and general display work and for small quantities of text,
particularly in advertising.
For 50 Years Sol Hess was art director of Lanston Monotype Machinery Co., where he succeeded his friend and collaborator F. W. Goudy. He started with the company in 1902 after a threeyear scholarship course at Pennsylvania Museum School of Industrial Art, and as a type designer there he redrew and readapted all their typographical materials. His forte was the development of type families, and during his years with Lanston monotype he carried out commissions for many leading American companies, including Curtis Publishing, C r o w e l l - C o l l i e r, Sears Roebuck, Montgomery Ward, Yale University Press and World Publishing Company.
November
1 Sunday 2 Monday
4 Wednesday 5 Thursday
3 Tuesday
7 Saturday
6 Friday
November
13 14
Thursday
Tuesday
November
Friday
Saturday
10
Wednesday
12
Sunday 8 9
Monday
11
17 Tuesday 20 Friday 21 Saturday
18 Wednesday 19 Thursday
15 Sunday 16 Monday
November
27 28
Thursday
Tuesday
November
Friday
Saturday
24
Wednesday
26
Sunday 22 23
Monday
25
29 Sunday 30 Monday
Wednesday Thursday
Tuesday
Saturday
Friday
November
Goudy Old Style
Founders produced additions to the family. In 1927, Morris Fuller Benton drew Goudy Extra Bold.
huge success of Goudy’s typefaces led to the addition of several weights to many of his typefaces; designers working for American Type
W. Goudy to design heavy versions of Goudy Old Style. Goudy Heavyface and Goudy Heavyface Italic were released in 1925. The
E and L. Several years later, in response to the overwhelming popularity of Cooper Black, Lanston Monotype commissioned Frederic
Its recognizable features include the diamond-shaped dots on i, j, and on punctuation marks; the upturned ear of the g; and the base of
enough for both text and display, it’s one of the most popular typefaces ever produced, frequently used for packaging and advertising.
In 1915, Frederic W. Goudy designed Goudy Old Style, his twenty-fifth typeface, and his first for American Type Founders. Flexible
Frederic Goudy, one of the best-known and most prolific of type designers, designed, by his own reckoning, 123 faces. Born in Bloomington, Illinois, he worked in various cities before founding the Booklet Press in Chicago in 1895 with equipment bought from Will Bradley. The sale of a set of capitals of his own design to the Bruce Type Foundry, Boston, encouraged him to become a freelance lettering artist. Goudy’s breakthrough with type design came in 1911. He designed Kennerley Old Style for the publishers Mitchell Kennerley on the understanding that he could sell it to the trade. He set up the Village Letter Foundry to cast and sell Kennerley and a titling font, Forum. These established his reputation, and American Type Founders commissioned Goudy Old Style, regarded as one of his finest designs.
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November
Designer: Frederic Goudy
December
5
Saturday
3
4
Thursday
Friday
1 Tuesday
2
December Wednesday
Monday
Sunday
Sunday
6 Monday
Wednesday
Tuesday
8
Thursday
11
10
12
December 7 9
Friday
Saturday
19
Saturday
17
18
Thursday
Friday
15 16
Tuesday
14
December Wednesday
Monday
13 Sunday
Sunday
20 Monday
Wednesday
22
Thursday
25
24
26
December 21 Tuesday
23
Friday
Saturday
Saturday
31
Thursday
Friday
29 30
Tuesday
28
December Wednesday
Monday
27 Sunday
Bell MT
Designer: Richard Autin
December
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In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the
matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison
as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines,
the face is less severe than the French models and is now classified as Transitional. Essentially a text face, Bell can be used for
books, magazines, long articles etc.
Born in London, Richard Austin trained as a wood-engraver with Thomas Bewick. In 1788 he joined the British Letter Foundry of publisher John Bell as a punch-cutter. Influenced by Bell’s enthusiasm for contemporary French types, Austin, a skillful cutter, produced a very sharply serifed letter which Stanley Morison was to call the first English modern face. the type retains some old-style characteristics and should more properly be called a late transitional. Austin went on to cut true moderns and later, in 1819, after starting a foundry of his own, he outlined the dangers of such designs being taken to extremes.
Seasons
Seasons
DESIGN Israel Condon
REFERENCES TYPEFACE HISTORIES adobe.com itcfonts.com (Helvetica Neue) ascenderfonts.com (Century Gothic)
TYPEFACE DESIGNER BIOS An A-Z of Type Designers By Neil Macmillan
DESIGNER PHOTOS Linotype
Credits
Ascender Fonts (Bell) Identifont (Slimbach)
TITLE PAGE IMAGES Israel Condon picstopin.com seamless-pixels.blogspot.ca artbaggage.com
INFLUENCES Thinking with Type by Ellen Lupton