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E G U A G N K I N G A M L A Y U R T N C E
Uppercase Letters Lowercase Letters Basic Glyphs Basic Glyphs Italic Complete Glyphs Weights & Versions
1 L E T T E R S
Typographic Detail
Abstraction Clues Distinction Reveal Letterform Sequence
Abstraction
Clues
Distinction
Reveal
Letterform Sequence Frame 1: Abstraction Frame 2: Clues Frame 3: Distinction Frame 4: Reveal
1 L E T T E R S
Typographic Form & Counterform
Combine two Century glyphs
Combine one Century glyph with one corresponding Univers glyph Combine one closed in counterform with one Century glyph Combine two closed in counterform glyphs of either typeface with a geometric shape
c
i
Q
7
rj
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8
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2 WO R D S
Uppercase Typographic Structure Typographic Anatomy
cap height x-height
baseline
2
1
9
5 3
6
14 10
7 4 8
11
13 12
15
3 S E N T E N C E S
One Size Structure, Meaning, Hierarchy, Composition & Process Variation One Size. One Weight. Horizontal Baselines. 12pt text / regular weight / roman / b+w /
One Size. One Weight. Orthogonal Baselines. 12pt text / regular weight / roman / b+w /
One Size. Two Weights. Horizontal & Orthogonal. + Circle. 12pt text / regular & bold / roman / b+w / One Size. Two Weights. Two Versions. Horizontal & Orthogonal. + Rules. 12pt text / regular & bold / roman & italic / b+w /
Making Language Visible Century A Transitional Serif Type Family Designed by Linn Boyd Benton in 1895
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A Transitional Serif Type Family
Making Language Visible
Department of Design Autumn 2018
1895 Designed by Linn Boyd Benton 8 of 14 A Series of Typographic Investigations
The Ohio State University
3 S E N T E N C E S
Two Sizes Structure, Meaning, Hierarchy, Composition & Process Variation Two Sizes. Two Weights. Horizontal & Orthogonal Baselines. 12pt text / regular & bold / roman / b+w / Second Size x-height equals 12pt text cap height
Two Sizes. Two Weights. Two Versions. Rules. Orthogonal. Gray Values 12pt / any weight / roman & italic / orthogonal baselines / gray values Second size x-height matches 12pt text cap height or Second size cap heigh matches 12pt text x-height or Second size to the designer’s discretion
cen
tur y
1895
C E N T U R Y
Making Language Visible
A Tranisitional Serif Type Family Designed in 1895 by Linn Boyd Benton A Series of Typographic Investigations 8 of 14 The Ohio State University Department of Design Autumn 2018
4 P A R A G R A P H S
History of Typography Timeline
open
Morris Fuller Benton’s Typeface Designs
1897
1900
1901
1902
1903
1908
1908
1910
1910
Cloister
Globe Gothic
Linotext
Franklin Gothic
Alternate Gothic
Lightline Gothic
News Gothic
Hobo
Clearface Gothic
1475 Oldstyle
1750 Transitional
1775 Modern
1825 Slab Serif
Oldstyle typefaces are based upon the lowercase forms used by Italian humanist scholars for book copying and upon the uppercase letterforms found inscribed on Roman ruins. The forms evolved away from their calligraphic origins over 200 years as they migrated across Europe, from Italy to England.
A refinement from Oldstyle forms, this style was achieved in part because of advances in casting and printing. Thickto-thin relationships were exaggereated and brackets were lightened. Transitional types have larger x-heights than previous typefaces and sport serifs with flat bases.
This style represents a further rationalization of Oldstyle letterforms. Serifs were unbracketed, and the contrast between thick and thin strokes was extreme. English versions (like Bell) are also known as Scotch Roman and more closely resemble transitional forms.
Originally heavily bracketed serifs, with little variation between thick and thin strokes, these faces responded to the newly developed needs of advertising for heavy type in commercial printing. As they evolved, brackets were dropped, creating serifs with similar weights to the stroke’s faces.
Garamond (pictured) Caslon Jenson
Baskerville (pictured) Times Roman Century
Bodoni (pictured) Didot Bell
Serifa (pictured) Clarendon Rockwell
Linn Boyd Benton’s Typographic Inventions
1882
1883
1884
1885
1895
Mould
Self Spacing Type
Benton Pantograph
Punch Cutter
Combination Fractions
1926
1928
1928
1930
1931
1932
1933
Souvenir
Duly Noted
Broadway
Canterbury Old Style
Modernique
Parisian
Bank Gothic
Stymie
Agency FB
Eagle Bold
Bold
1900 Sans Serif
Ultra
1925
Book
1917
Light
1914
Century by Linn Boyd Benton
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
These typefaces eliminated serifs altogether. Although the form was first introduced by William Caslon IV in 1816, it did not become widespread until the early 20th century. Variations tended toward humanist forms or the rigidly geometric. Sans serif is also referred to as grotesque and gothic. Helvetica (pictured) Akzidenz Grotesk Univers
American typographic hero, Linn Boyd Benton revolutionized the world of printing with a myriad of printing-related inventions. As a member of American Type Founders (ATF), Benton designed the Century typeface for Century Magazine in 1894, with its release in 1895. His son, Morris Fuller Benton, worked alongside him, building variations based off of the original transitional typeface. The younger Benton went on to create over 220 typefaces at ATF.
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1901
1906
1907
1913
Type Dressing Machine
Matrix and Punch Cutting Machine
Automatic Type Caster
Lining device for engraving matricies of shaded letters
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Century Magazine, 1895
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