Typography Timeline

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h t n e e t e n Ni And h t e i t n e Tw y r u t n e C

ing e beginn sented th re re p a re d n s a e in on tle mach r revoluti These lit compute r cool, l e a p n p o rs su e e p th of Apple’s mpared to looking co nes of today. dinosaur-o in lla Apple uber-thin

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for the the paper rtance of o is crucial, p s im ic e n h h T nting tec ri p f o e use of n o th evoluti e ab o u t c n re fe re rst nt China in and the fi the ancie m o fr d nast y, te e H an D y p ap e r d a during th .E C able v 5 o 0 1 m t t ab o u f the firs round vention o a in in e a th in d h n a es from C m o c o , ls d rl types a estern wo n . In the w t Europea rs fi 1040 A.D is rg e b n ting te n u ri G p s s J o h a nn e able -t ype is sing mov ss u s re rt rp a e st w ho use of lett e h T . g 9 n 3 lo 4 for press in 1 f printing on form o strial u d In e the comm th was until it d ting n n a ri , e p tim where n in 1760 ive, and ss a m e Revolutio n finally b a c n o design ti e c produ evolve th ographers le to p ib ty ss n o e p h w d makes n a s, e c ography. p fa of type odern ty m s a w o t kn t to point have wha importan is it , in ss re crucial Nonethele rs that we to the c in fa y e h re p out th e typogra th p lo e m v e rnis order to d the Mode Age and in lution of o v e e Machine h T : odernism hich the and Postm ntex t in w o c e th y, ces, and eir typefa technolog evelop th d r peface e h ty p e ra typog lution of th o v e e m e. th d sent its ti finally, an r to repre e rd o in d as a n e e

tion The evolu gy lo of techno gy of the Technolo entury -c nineteen revoluindustrial

is ion. For th the product g h in rt it o w lim n Leave type were ter, William router with n, years la al so ic a n re a ch e ion g the me on on what th the product arted usin y is based in st g g lo in o It is based lt n su ch re te , e h is n p o h ry T y ra . ve b g p a u one a panto made in tion bring ere place typefaces, st. Alois pes that w metal is of perfect ot extra co n movable ty te words. Originally, h it w d d n n a a , e a ography in rs m h cr short ti e new Lit e characte th in order to th ts n ke a ve ts m r in er to ngelmann se it le Senefelde used in ord ced for wood becau Godofroy E 7 3 9 s, 1 ce in at is able fa d la e p 1870 an ography th h ig size typ b lit later it is re o te rs. m a e ro h cr eC in 25 colo ries to eteen patents th type found lor images ring the nin ng u co D a . n st w o co d wn letteri to break and cut do for bigger e demand of metal se u e th century th d n g to fast a were scalin

ler’s Mergentha above is of movable n de oo The image ,w ft achine. Le Offset linotype m r Sheetfed page, Colo t ex N s. type achine.

Printing M

gy of the Technolo ntury e nted the Twenty-c nthaler inve

cause it istakes be sier to fix m a nd when e a s r, e ke a ct m by chara r e ct ra change a to works ch ecessary n is rs e u rg cc o the than create ttmar Me a mistake es of text in nly rather lin In 1884 O o r ts e ct se and , e ra rd p a a ybo inoty Monotype those ch Linotype. L anipulated from a ke at text. Both, f rinting o p e f o lin e s m w n n e o an productio by hand, cast that is e d th ce f st atically o la u p m e b g bein down dra Linotype a solid lin instead of make fall m creates d the e is n st a in n e s n sy th ct io is t u ct h prod metal tha ng produ ti n the time. T n e ri lt p o f ated m o e e f s by th use o system cr the price text by the using cool air. Almost w is other lo ty of d ci ts n Lu e t. ve th y e in b mark Ludlow in rt Laston e m cold down lb ia ed ill To W 7 y 8 m in 18 the co bin chine in 1906 b same time stem uses otype e. This ma sy in is ch a th , M o e g r p e Chica e and Lin the Monoty racter at a time rath f Monotyp oard as cha e system, concept o p ty ave a keyb o h lin ’t casts one sn s e A o . d e s it a c system lin ti ir se a re ti becau n autom a and cool a l than an en se ta u e t m u t b e o , onotyp uses h Monotype sist that M monotype rence con fe if d e h T well.

5

Evolution pography Century Ty th tie en And Tw Nineteenth

and 0 Linotype mid of 194 ry to ve 8 m 7 e 9 st 1 From other sy and some d by dition, e d se p a u ty In o re n a s. o , e M do them 46 as linotype er from 6 points to spired on d, until 19 alike or in of printing ract in the worl a s ch ie e s t n e n th a ti ri p p ili ce m n ib repla printing co Ludlow ca nge of poss d Moyroud is a large ra we compare all igonnet an ss of printing for H n e h w 144, that if t ical proce nclude tha dustrial through a use or phys l lenses that shoot We may co chnics before the In a c te ti ic tographic a h g o p n m h ti ra p photog the prin ered a dra e over a p ff ty su a s h ss a a it h w , It r and with ssible a m strip or film do. Web) Years late Revolution making po d n e a g n ve s, is system a e ze n th ch (A , paper. positive mputers nd magazi a co s e k o th o f b o to f o on mputer, ordable the evoluti production ntrol of a co formation. s more aff co ce ri e p th ir r ve e e ro d up in went un making th se big imp ible to back hough, tho on ing it poss k a m anyone. Alt e Industrial Revoluti tury, metal t th teenth cen m the hotments tha in the nine n in the change fro le split in p is o e th e b p r, n ve to ca e e How bring esetting p etter happ f ty b o to n y o on of n ve h a e P ta m g e adap ti ke that printing to somethin ry that ma s, first is th ew ves n n tu o ti r n ti a g fo ce ra e e n te th n u e e m it twenti ines to fil e four g eing subst ch b th a s m r in n l e o ti lly st ta n a a e ith a “M It is speci the hot m these inve gy he chanical w lo cate ones T e o ti m c. n is is ro h ch d p ct te ry le so and e more lutiona ry where vo tu re f n o a ce It f t ss o ll. e a a p n it � in form d Golf-b 80’s of the pable, making us w on, is calle des Film ti ca ra p e e o d n st e n ke g u ta d secon seems ast may at in the p changes th ries. ntu or even ce

type etting Dia age, photos able types ov Above, im m al et r. Left, m otype font maste page, Mon st. Previous in their ca achine.

Printing M

igation for f the invest irect o n o ti ta n e d is the reori rinting. Inventors re such s ays of p at has all w ie th lt w ll a e a ci n b e a that use nt and to others sp r hand, since the is a system cters of a specific fo their work othe It . ly si ra a a e hy. On the , ch p e uters by e the typ photogra nother on a onal comp r rs fo e p d d ir e e th th f e itch o h T sw n of Apple . o e n M ti b o n ti IB n ca inve 0 1960 by the evolu 6 d in e n a th ce 4 f u and o 5 d o 9 d the en pography was intr IBM in 1 ows up by ). r maker, ty e sh te b at none u n Tu p o th ti y m a ls ra R co e ve gen as a t into le (Cathode e g T R ry C r st e d Xerox, u ct d lle a an chara on such and is ca printing in . Corporati iration for new is able to sc CRT where it is d e m e ct e st xp sy e This has the f insp sending to d source o terior. nder that will be were a goo ers in its in ct , which fou e ra b a o d ch A s a ch d su ssary ce u ce ss d e e repro busin ation n the inform tion ll se during a ra a e s b n rb e ta g a so d h b l a the fourt e ensiona m 6 im 7 ti 9 -d st 1 pany. e fir m re in r , th co fo Finally about for this of laser at he work h the use 83 is it 9 th 1 w e s in m e ti d m n e a co th ry, ting indust t The Linotron 101, be in the prin unded Ado arke r m e e st th ra in to Warnock fo dimensional d n n o h ce e u Jo -n d r, o m tr te in La two Heliu that uses eating the t (Salo. we follow a machine in 1982, cr e Postscrip b ge 115) If o a d p A y r g d e lo rt lle o a ca logy able to in techn imaging. (C database is a techno information the events y t h p lly w ri a d ic sc n g st ta lo o unders chrono Web) P printing possible to quality files into a r virtual history, it is century surpasses in A key codify PDF ting files o n ri -p re p . th ry re e a tu ti s n n the twe (PDF file teenth ce century ty the nine and quanti evolution of the past is factor for th 7

Evolution pography Century Ty th tie en And Tw Nineteenth

we hold n is what r e d o m ct.�

T he truly ssly perfe le e m ti e Renner today to b

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Paul

cal i t i l o P l a i Soc Context Nineteen

phy tive typogra ally, genera art that is the use in F ). ts n ri p ve l is m generati the contro derives fro em where st the sy s s ic u o im of autonom nerative graphics m ence, e u G q . d se n te elimina DNA; in co f artificial of plans. behavior o ly and out e e fr s w flo g in everyth Industrial spite, the e d , n o act si u On concl ndous imp as a treme h ange n ch o ti d n lu a Revo industry ic h p ra of g e o landscap in the typ e printing th xceed e ly , te ry le tu p com enty Cen Tw e th , ’s e the 1800 impressiv due to the eral, any fantasy e technology in gen th f o evolution fifty years. ng the last mostly duri

th-Centur

y

cial and and their so er factor rs e h p ra g Typo is anoth ckground that cultural ba aracteristic ch e m so ncern s e co fin in e a that d e. The m m ti ir e such th ry represents rs of the 19th centu e is h s p in ra g g ig o of typ Vincent F Thorne or er to a William ology in ord e other n ch te e th th ve n ro o to imp styles; pography ty enner, e R th l u e a lv P evo er such a h p ra g involved o p is hand, ty -century, ty n e tw e e th m such th belongs to rical proble n and his to is l-h a ci with so of Germa ic identity zis. typograph inst the Na a g a sition political po

-c Twentieth er, typograph s, a British in 17 g 8 ig 1 F in t e n yl Vince Egyptian st st mmisfir co e a th ond to creates sp re rs e ct ara is Egyptian ch ot, these typefaces eg of the n io ss re sion that h l exp ly te a typica .60). In Ita considera gmillan pg e the most a (M . e g A Machine creates on Bodoni. a Bodoni, , Giambatist faces of the all time pe ty l fu ti u a e b pe hers and ty f typograp o lated to rk re o w re a e h T chine Age a M f o ose, s rp e u foundri r this p d fame. Fo portant n a im ss so e n is si n bu evolutio e in ch text of a n m co l printing e socia th ; n r io it d d a gister majo to them: In does not re e g a e in the mach problems.

y tieth Centur And Twen Nineteenth

entury

ces e world fa century th ty o n tw e e tw th e such as During th problems l l a a b ic lo lit g o p s l u serio e socia , and som d World Wars ch a the Russian an su demands s e n o th ti g revolu , that brin n o ti lu ctive vo p ew pers e Chinese re at, and a n ri ta le ro p of the r. world orde about the , his ric Gill born munity England E m in co 2 d 8 n 8 a 1 In hts workers rig ry interest on wn since he was ve o cent sh in s V a . w Fr g y livin fluenced b in e udies. st yb l a a m young, theologic ’s ill G g n ri aybe u Mc Nabb d Notre Dame. Web) M f o y it (Univers

9 Evolution Typography

typewriter.

M golfball Bellow, IB during the op sh t in e pr Right, larg evious Pr n. io Revolut ef t Industrial Printer. ,L pt ri h Postsc page, Ricco image.

e with e art scen affecting th the past and is t n e m move ying volution hy of destro of philosophy ussian Re s philosop d (R it in xt k te is n h T co . f the ho also e future 906) Gill th 1 ve n Renner, w because o o lo l ti u lu a P vo r e fo R g. d c e se ri e E iv ry appealin gin when 1917, Chin is well rece rinciples ve ng political has its ori for p g s ce n u a si fa h e e u p a th ty Sans r’s stro finds B to paint aul Renne eate e Nazis missioned addition, P asked to cr ested by th Gill is com In is rr a e e H b r. to lle er is a im se g h h k ti it o s u o d w B a Fr Bristol view, le 5) Adrian to compete 6 g le p b a t e p a rk th ca u reer very gue by a typeface in 1933. (B r who started his ca efaces in vo creates a p e ty n ed his n g h a si is e rm Sans the Ge er he fin Swiss d w the Futura. Gill se right aft ner, he is hire as llo u a fo ca ch n e a b su , g th e n r tim you rathe Desig come a graphic c typeface t time. In humanisti training as is fame and success ncy of tha e d n lt te l su o re o H r h ce e r. fa sc n o e n s p ct u u e ty R a ir l h d st u Bau art f Pa gns his fir e studies o Futura Typeface designed r er he desi e ft g a ti u st .

German, th Fr ju ra r, dien. Late tion of Futu lace the historical r’s in the crea called Meri aris is where Frutige er to rep rd o ’s P n in a ; In the 70’s d , rm g e e n rs ri G e u iv in D n r . is create U e d ate of blacklett ry appreci rist artistic create a supremacy work is ve e the Futu sioned to m is ti t m a m th co y is r e g ti u culture. B Fr

lebrated s most ce oni and hi scketche of d an Right, Bod ill G Button,Eric enner and R ul typeface.

Pa p, "g"Right to r te ac ar ch face.

Futura type

s Typeface t Represen e Their Tim

nology r that tech lve in orde gner vo e si e s d ce e fa Type gives to th it se ilities. u l ib ca a e ss n their po evolves b internatio of expand e of the two ty th e ili e n ve ib h o a T r h ss . o e fo the p de Gaulle f our tim typeface o s e rs rl e a had h d h r p C lle ra ve Paris, nd is ca r have e The Typog airport of in 1977, a t any othe enth d a te th se e a y in it le r n n re fo u e opport rename eless, th th is typeface is e it n r o te N . la ry is t years f work in the histo s wit many importan Roissy but ilosophy o me using, utiger's ph with the Fr p . o r e st century co t designers are still g ti to u le Fr b a p w ca a in th peface ched by ne phy has typefaces to find a ty are re-laun at typogra s th e n e o p r, a rs e sc e g d ti and oth chaotic lan ye Magazine) As Fru n ers. t. (E piekerman S typograph c ri E r the marke e h p r ra e g o rd p o t ty u n ld p the Germa pher shou at typogra archive e b y a m believes th it for this, s; o metimes a so , ch n e io in th pe select ty in re clarity. ca ic through pograph , and by ty n o ti a e cr type d understan rspective to i) The twentye p t n re fe A dif p://sp at phy of (htt the philoso e split in two parts th b nd Post n a ca m is ry centu ith Modern w d times te la tw re these o might be wever, is in ustry grows as o h ; m is rn Mode ting ind ry the prin of the histo re. never befo Evolution pography Century Ty th tie en And Tw Nineteenth

11

generation the fourth is IV n ce so rl son typefa William Ca family. Carl on ti ry st d va fir n o r u n fo fo in s e The Nine r of typ ird majo introduce th s e in g th ce ig F te fa t e ra yle. incen his typ is conside In 1817 V Egyptian st 00’s, and f ndry in market the earliest 18 u e e o ographer o F p th th n f ty in o e so e th ck n tim Ja o J. ly, ce a in n It e g e orkin I charg is a big influ tury (Megg pg 52) In ces He starts w e business ter he th n s fa ce e ke p ty ta ty n d n e la ates a the twe London, a . Short tim odoni, cre father owner died ; and very soon mbatista B ia . Bodoni’s ve G e m a when the n ss st e la n si ga is u h f d b o n s n a s ld ow that ho grapher, typeface starts his r and typo odoni design the designed te B n . to n ri d o p e ti a ir h s ca wa t edu he was iggings ista a grea simplicity, 's Bible. F , he to Giamba zed by its ri e the Macklin faces and with this ct ra a ch is e rm. (100 s’ p a ce in ty ch g fa type ste, and Facsimile on. All Fig ta ti d ta o u ni o p g n , re io lid ress ason Bodo cleanness earned a so considerate an exp ) For this re mous brand b e .w is e h re p f a o ty s best any fa typeface the critics is use for m côme, ine Age by sh typefaces rmani, Lan A s, of the Mach an pg 83) The Briti a ch su d lph rl a ill o R w , cm e in th a Herrera time. (Ma in, Carolin .

Calvin Kle Elle ra, Vogue, Lauren, Za

ntury teenth Ce

oni's er with Bod ation post the br le of ce ad e, re Abov first sp by ef t image, ile Typeface im typeface.L cs Fa g Bible usin d Universe. an er ig Macklin's ut Fr de Gaulle ight, Adrian of Charles Figgins. R typeface in er ig ut Fr And Paris.

Airpor t in

ry th –Centu e ti n e w T be T he raphy can

f typog evolution o ffected The twenty rts; the first part is a ch a p o s, change su split in tw al political ian ci ss so u R e e th ll th by a tion, ese Revolu d many as the Chin orld War I and II, an W appen , h n o d ti a lu h Revo nts that ve e t ry. n a rt o ce 20th ntu other imp third of the o tw e th g durin in er’s reflect and, typograph e rh e th , th o re e fo There xt. On th their conte past century was y a w e m so the ird part of use of the last th ssive beca re p im lly a ic personal g e lo o th n s a ch te ons, such ti n ve ternet, in In st greate on of the the inventi r, te u p m co

ll such as ce w devices e n f r o e n n o n ti e R the inven 927, Paul blets. In 1 d the phones, ta Bauhaus School an is y b d s Futura, th influence ent, release the best m ve o m st f Futuri d one o considere is possible typeface is me, and it ti ll a e th f o s nt print ce re typefa ugh diffe rinted thro p st-screen, o it P d , g fin in to Photosett s a pe ch su o 60) M noty media urke, page . Because of (B . e p ty n e 8 Op 192 ill Sans in pted for releases G ility, Gill Sans is ado ib g rporations, its great le nies and co ty of Art, a p m co ig many b yal Socie BC, The Ro ork such as, B , and Netw n la of Eng d rate a humanist e the Church d si ans is con with the Real. Gill S use of its similarity ca ns serif e b sa typeface Gothic, a lin k n a Fr nton ce.

Renaissan d by Morris Fuller Be e the n g e 79 und r letter desi ased in 19 le re is , 2 0 in 19

13

Evolution pography Century Ty th tie en And Tw Nineteenth

“

d s om e inte r prete e w m atte r w o h e T h at ou ld b a c it n o ti in for m a death .� er m ann of li fe of Er ik S pi ek

r cial in orde have is cru e ry m ti tu n o ce tw rence this of the past fe if d r a e d e h a cl djust to establis peface is a It is very ATF, the ty . ce a sp f s. o e license of lin ve a great sa ewspaper, is volume resulting in d this typeface in n enced in th flu in y , a fin ce m n r to o e continue ; for insta common Many fact owever, th the h nd posters d a y; n it a g , iv in rtions of ct is ca u ri rt adve of prod in small po k of Ame , n d a rl lly B o a w e in F y of e th . , th ic f productivit lin Goth the MOMA changes o her use Frank ffects the p r a e ra ly . g st e o o it se p p n ty fin s e te Rocky’ ore in time, d German ing this m face e talented artist, mak s the type e In 1986 th te th a e s cr ic n st n rma cteri ts that Erik Spieke ought, its serif chara d many poin re a re e f th n th , a n on graphers o r display Meta. Eve In conclusi line of typo g ect font fo rts e in a rf d e m rp p ti fin te a e n e e u b th b n It may contrast ith the co w peface ca ry ty tu ta n e e x, M en-c first nne headlines. the ninete ntity of Co and twenty oration ide and Mozilla nty-century e tw e th , in the corp f o lm sor. of Stockho ity of Wind the metro the Univers ographers d n a , n o ti Founda t the typ activity tha The intense

d of e advance bviously, th f all these differO . ry tu n ce re o e y is the co is where th technolog ased on th b is se . u n o ences beca nhance their creati years ne creators ca if an artist from sixty , in 3-D t ce le to prin For instan is impossib t st, a xi e th ’t s e ago se gy doesn at technolo direct his energy th se u ca be to re e is going things. probably h in possible y rg e n e e th s cu fo d an of the ographers r hand, typ at they can e th o e th On el th chnology ry might fe the new te new centu se u ca e b ore explorer m

y tieth Centur And Twen Nineteenth

ts experimen were their l rm ra o u tf lt la cu p l e a is th . The soci d e e p m lo a ve fr e e ered th can be d s. t be consid rk h o ig w m ir e xt th te con shape rtists can ounded were the a if an artist lives surr , work ce n is a h , st For in of violence re e h sp a o sent th t by an atm ilities; repre ase in this ib ss o p o has tw ainst it. B face r going ag o ce n le ty-century o vi f the twen o t their is n rt a a th e s idea th l problem a ic lit o oes. p d lry a us centu more soci the previo f o o rt ls a a it rp , counte rmation ss, this affi ies.

Nonethele alit u q t n artis depends o

15 Evolution Typography

e for c was us ckin Ghthi an Bank Fr d , ht an ig A R M er, and MO st Erik po n 's er ky Roc ight, mod a logos. R face. pe ty of Americ a et n and M faces Spiekerman ative type age,Gener of DNA. es ov Button im m controlled un e th ic mim

Cites:

014 . 03/21/2 .edu2011 ca .c o n m o tting. P rk: Princeto hototypese hy. New Yo p a gr o p Azevedo. P Ty e Art of l Renner: th rint opher. Pau . Print. st ri h C , n. 2012. P e Burk ss, 1998 Fifth Editio . re n P o l ti ra a u ic ct n Archite Commu ry,”. : Form and esign Histo phy Design a gr o p Ty History” D . g b n o R si e r, D e rt ic a C To Graph troduction rint , ”A short in 3/21/2014 ry to is H c, 2011. P Design & Sons, In ns. Web. 0 o ey ill m W m o n C h Creative esign. Jo Graphic D niversity History of en : Yale U ’s gg e M .

T: New Hav ip ill ,C h n P e s, av H gg Me ers. New pe Design t An A-Z of Ty il. e N , n 2011. Prin a Macmill Sons, Inc, & t. n ey ri ill P .

W 6 n 0 gn. Joh Press, 20 raphic Desi rint istory of G on 1877. P H ’s gg e M and. Lond . gl ip n ill E h P in g s, n Megg 14 rt of Printi 03/21/20 ry of the A her: Web. hort Histo lis S b A u P r. u s. h e rt Inkguid Powell, A Print.

PostScript” uela, 2007.

History of e th f o s e Madrid: Cir ot . e “N rt .

A ri l e Ja , n Salo grafía e afía y Tipo eb. http:// en la Tipogr 4, 2010. W r e e rt b A u c. ct ri O n n Blog.

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Sutphen, K .blogspot.com/201 cial Collect e p n S e h ill G tp c katesu to the Eri troduction Dame. “In re ot N 1/2014 f /2 o Dame: 03 University y of Notre it rs e iv n U nd.edu.

errez Marco Guti Timeline Book

rs e r: h e p a gn gr si De Typo y2 Project: Typograph a Guerrero Course: Franchesk ic Book, Rockwell oth

G y: lt in Facu Frankl

rt/ Typefaces: ntart.com/a hy: n0d3.devia -85721804 p xa a gr o /m ot :/ h p P 7 htt enner-192 Futura-Paul-R con

gs/alltech pr.org/blo .n w w s /w / 8 :/ http 51818 -up-the-new 5/28/153 otype-sped n -li e

th sideredz0 te he-intern long-before-t /press/ ce/letters .com/artifi

ot o l sr u tm o .h it .circu es/index http://www /capabiliti /monotype e p ty p m

ns/4/4e/ co ia/commo rg/wikiped

.o ia d e im d.wik http://uploa ss_blocks.jpg re Wood_letterp mary. ducts/sum

p.com/pro -a h o ic .r w http://ww 63&t=sz akjpg/ aspx?PID=8 mk8i0xvlp m/img/18 o .c

ts e ss wkera http://img.ga g p l.j a n origi 1/2/1- /kora/files/ 9.jpg

istory.com 4 h a _3 p -a re r3 lo ry-a0k7 http://exp lorePAHisto xp -E 5 -2 8 7

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ggshell Ult , 80 text (118gsm), E e n rfi e p u ite Mohawk S ggshell Wh uperfine E Paper: Mohawk S