Century Schoolbook Process Book by Darian N Bequette

cs Century Schoolbook PROCESS BOOK BY DARIAN N BEQUETTE

RESEARCH MORRIS FULLER BENTON Morris Fuller Benton was born in 1872 in Milwaukee, USA and died in 1984 in Morristown, USA. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932).

Morris Fuller Benton

THE WORLD IN 1919 The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldnâ&#x20AC;&#x2122;t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell.

HISTORY OF FONT Century Roman was designed by Linn Boyd Benton for Century magazine in 1894. At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. Linnâ&#x20AC;&#x2122;s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications.

CLASSIFICATION Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: Didone is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua.

CHARACTERISTICS General characteristics: Crispness and elegance Strokes end in fine tapers Ball terminals Finely pointed serifs Low stroke contrast Easy readability (due to low contrast) Lowercase characteristics: Distinct ball terminal on the top curve of c Ball terminal on the hook of f, the ear of g, and the tail of j Uppercase characteristics: Curled tail on R Reflexive curled tail on Q Prominent top spur on C Figure characteristics: Ball terminals on both tails of 3 Ball terminals on single tail of 2, 5, 6, and 9

FUN FACTS The Supreme Court of the United States of America requires that all briefs be typeset in the Century family. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare.

BIBLIOGRAPHY De Vinne, Theodore Low. The Practice of Typography, Plain Printing Types. New York, NY: The Century Co., 1902. p. 359. Dodd, Robin. From Gutenberg to Open Type: an Illustrated History of Type from the Earliest Letterforms to the Latest Digital Fonts. Hartley & Marks, 2006. Friedl, Friedrich, and Philipp Luidl. “Typographie: When, Who, How: Wann, Wer, Wie = Typography: Quand, Qui, Comment.”, Könemann, 1998, p. 121. Shaw, Paul. “The Century Family” in Fine Print on Type. Edited by Charles Bigelow, Paul Hayden Duensing, and Linea Genry. San Francisco: Bedford Arts, 1989. ISBN 0-9607290-1-1, p. 46–9.

SLAB SERIF

MODERN

OLD STYLE Characteristics: - curved strokes whose axis are inclined to the left - little contrast between thick and thins - bracketed serifs and angled head serifs Fonts: - ITC Berkeley old style - Bembo - Monotype Garamond - Stempel Schneidler - ITC Galliard

Also known as Didone (a mixture of Bodoni and Didot) Characteristics: - extreme weight contrast between thick and thins - vertical stress - serifs with little or no bracketing Fonts: - Bodoni - Didot - Arepo - ITC Fenice - Kepler

SANS SERIF: GEOMETRIC

SANS SERIF: HUMANIST Characteristics: - contrast in stroke weight based on Roman inscriptional letters - calligraphic influence - high readability because of open forms that lead the eye horizontally Fonts: - Frutiger - Gill Sans - ITC Goudy Sans - Mentor Sans - Whitney

Characteristics: - strokes are strict monolines - character shapes are made up of geometric forms - less readable Fonts: - Avenir - ITC Bauhaus - Futura - Harmonia Sans - Raleway

Characteristics: - geometric - block-like apenditures - either blunt or angular Fonts: - Egyptian Slate - Serifa - Glypha - Rockwell - Memphis

SANS SERIF: GROTESQUE Characteristics: - contrast in stroke weight - â&#x20AC;&#x153;squaredâ&#x20AC;? quality to a lot of the curves - bowl and loop lowercase g Fonts: - ITC Franklin Gothic - Helvetica - News Gothic - Univers - FF Dagny Pro

OTHER CLASSIFICATIONS

TYPEFACE UPPERCASE

ABCDEFGHIJKLM NOPQRSTUVWXYZ LOWERCASE

a b c d e f g h i j k l m n o p q r s t u v w x y z FIGURES

1 2 3 4 5 6 7 8 9 0 . ! ? , : ; “ ’ - ( ] @ &

though the ball terminals of c, j, and r are nearly uniform the curve that meets the ball terminal in each letterform creates a unique counterspace

the ball terminals of c, j, and r are nearly perfect circles unlike most teardrop shaped terminals

The lowercase two tier g has a prominent ball serif on the ear. The lowercase t has a sloping line that connects the top left side of the stem to the crossbar.

The capital Qâ&#x20AC;&#x2122;s tail and Jâ&#x20AC;&#x2122;s descender are the only two uppercase characters that go beneath the baseline

The uppercase C, G, and S all feature a prominent barb on the top of their letterform.

The 5 and 3 both have a slight bulge where the line turns and loops at the x-height, as it would if someone was writing they typeface with a pen.

Most of the circular lowercase characters have a completely verticle axis, indicating no stress. The lowercase s however has a slight tilt to its axis creating some stress.

The counters of the lowercase characters are as large as possible while still maintainting heavy line weights. What little contrast does exist is where the bowl meets the stem.

Bentonâ&#x20AC;&#x2122;s focus on counterform and contrast in line weight is apparent in the distortion of the top curves of 2, 3, and 8.

Of all the lowercase characters that have ball serifs, J is the only letter form whose uppercase character also has a ball serif.

Uppercase characters with crossbars at the x-height have an angle of contrast created because of how the bowl meets the stem in a rounded fashion meaning the thinnest part of the top is in the center whereas for the cross bar it is where it meets the stem.

The top serifs of uppercase characters open out at an angle of 93 degrees. Whereas the bottom serif of the E opens out at an angle of 87 degrees.

Unlike other characters like k or its counterpart n that have serifs that come very close to each other, u doesnâ&#x20AC;&#x2122;t have a double sided serif on either of its two top terminals.

INITIAL POSTER IDEAS

transitional serif Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the nineteenth.[33] They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and thin lines are more pronounced than they are in old style, but less dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the 'R' has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by ball terminals. Transitional faces often have an italic h that opens outwards at bottom right.[34] Because the genre bridges styles, it is difficult to define where the genre starts and ends. Many of the most popular transitional designs are later creations in the same style.

transitional serif

Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the nineteenth.[33] They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and t hin lines are more pronounced t han they are in old style, but less dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the 'R' has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by ball terminals. Transitional faces often have an italic h t hat opens outwards at bottom right.[34] B ecause t he genre bridges styles, it is difficult to define where the genre starts and ends.

transitional serif Transitional, or baroque, s erif t ypefaces first became common around the mid-18th century until the start of the nineteenth.[33] They a re i n between "old s tyle" and " modern" f onts, t hus the name "transitional". D ifferences between thick and thin lines are more pronounced than they are in old style, but less dramatic than they are in the Didone f onts that f ollowed. S tress is more likely to b e vertical, and o ften the 'R' has a c urled tail. The ends o f many strokes are marked not by blunt or angled serifs but by ball terminals. Transitional faces often have an italic h that opens outwards at b ottom right.[34] B ecause t he g enre bridges styles, i t is d ifficult to d efine where the genre starts and ends.

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TRANSITIONAL SERIF:

Found most often in the 18th century, transitional is between oldstyle and modern styles. They commonly feature bracketed serifs, low stress on o as well as a flick on the R. They also tend to have more contrast than oldstyle but less than modern.

TRANSITIONAL SERIF:

F ound most often in the 18th century, transitional is between oldstyle and modern styles. They commonly feature bracketed serifs, low stress on o as well as a flick on the R. They also tend to have more contrast than oldstyle but less than modern.

TRANSITIONAL SERIF:

F ound most often in the 18th century, transitional is between oldstyle and modern styles. They commonly feature bracketed serifs, low stress on o as well as a flick on the R. They also tend to have more contrast than oldstyle but less than modern.

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ123456789

TRANSITIONAL SERIF:

F ound most often in the 18th century, transitional is between oldstyle and modern styles. They

commonly feature bracketed serifs, low stress on o as well as a flick on the R. They also tend to

have more contrast than oldstyle but less than modern.

TRANSITIONAL SERIF:

F ound most often in the 18th century, transitional is between oldstyle and modern styles. They commonly feature bracketed serifs, low stress on o as well as a flick on the R. They also tend to have more contrast than oldstyle but less than modern.

CONTENT POSTER EXPLORATIONS

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (19 31), and American Text (1932). • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his magazine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print on small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9.

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932). • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his magazine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print on small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9.

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932). • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his magazine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print on small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9. • Benton is also accredited with creating some order out of chaos in the typographical world, by establishing the concept of dividing up typefaces or fonts into families. He was also responsible for some of the most successful revivals in typographic history when he interpreted the Bodoni and Garamond typefaces.

zine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print on small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be

clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9.

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932). • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his mag azine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print o n small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9.

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932). • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his mag azine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print o n small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9. Benton is also accredited with creating some order out of chaos in the typographical world, by establishing the concept of dividing up typefaces or fonts into families. He was also responsible for some of the most successful revivals in typographic history when he interpreted the Bodoni and Garamond typefaces.

which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9.

ed. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, and 6.

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his magazine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print on small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9.

Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932).

The end of WWI was still fresh and there had been huge progress in the printing industry. The demand for books, magazines, newspapers, and other printed items hastened technical innovation. Before mechanical typesetting was commonplace, most printed material used mediocre modern roman faces. Designers had been making cheap knock offs of Bodoni and Didot because they couldn’t be used in this printing method due to the fact that their hairline serifs were too thin and thus needed proper attention in a hand press. At this time, De Vinne was criticizing modern romans for poor legibility. Out of the ashes came Baskerville, Bulmer, and Monotype Bell. • Morris Fuller Benton was born in 1872 in Milwaukee, United States of America and died in 1984 in Morristown, United States of America. He trained as a mechanic and engineer and then joined the ATF (American Type Founders) where he was an in-house designer and type designer. His father was the head of ATF and designed the original Century family which he later developed over 18 variants for, some of which are digitized. The most popular one is Century Schoolbook. He has developed over 200 alphabets all of which were published by ATF including: Alternate Gothic (1903), Franklin Gothic (1903-12), Cheltenham (1904), Clearface (1907), News Gothic (1908), Cloister Oldstyle (1913), Souvenir (1914), Century Schoolbook (1919), Broadway (1928), Bulmer (1928), Bank Gothic (1930), Stymie (1931), and American Text (1932). • Century Roman was designed by Linn Boyd Benton in 1894 in collaboration with Theodore L. DeVinne, typographic scholar, printing craftsman and publisher of the Century Magazine. DeVinne was not satisfied with the Caslon-derivative types in his magazine, he considered them thin and weak and wanted a more legible font, which would also enable the production of really black print on small sizes, not the apparent gray which was a common problem in press work of modernized old-style type. DeVinne was aware of Professor Louis Emile Javal’s studies on typographic legibility, whose results were published in 1879. Javal’s work suggested that x-height is an important component of legibility. • According to Patricia Cost, DeVinne and Benton started with “some Scotch roman of the middle 1800s, possibly from the Miller & Richards foundry of Edinburgh.” Century Roman got a larger x-height than most faces, thicker hair-lines than was common and the proportions of a condensed face. It was available as a foundry type in sizes 8-, 9- and 10-pt and it first appeared in the Century Magazine’s November 1895 issue. • At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. • Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward, followed by a Bold Condensed and an Extra Condensed. • Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. • Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. • Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9. • Benton is also accredited with creating some order out of chaos in the typographical world, by establishing the concept of dividing up typefaces or fonts into families. He was also responsible for some of the most successful revivals in typographic history when he interpreted the Bodoni and Garamond typefaces.

POSTER SETS

REDESIGNS

TRANSITIONAL SERF: Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the nineteenth.[33] They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and thin lines are more pronounced than they are in old style, but less dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the 'R' has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by ball terminals. Transitional faces often have an italic h that opens outwards at bottom right.[34] Because the genre bridges styles, it is difficult to define where the genre starts and ends.

Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9. Benton is also accredited with creating some order out of chaos in the typographical world, by establishing the concept of dividing up typefaces or fonts into families. He was also responsible for some of the most successful revivals in typographic history when he interpreted Bodoni and Garamond.

TRANSITIONAL SERIF:

F ound most often in the 18th century, transitional is between oldstyle and modern styles. They commonly feature bracketed serifs, low stress on o as well as a flick on the R. They also tend to have more contrast than oldstyle but less than modern.

school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the lighter strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9. Benton is also accredited with creating some order out of chaos in the typographical world, by establishing the concept of dividing up typefaces or fonts into families. He was also responsible for some of the most successful revivals in typographic history when he interpreted Bodoni and Garamond. TRANSITIONAL SERF: Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the nineteenth.[33] They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and thin lines are more pronounced than they are in old style, but less dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the 'R' has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by ball terminals. Transitional faces often have an italic h that opens outwards at bottom right.[34] Because the genre bridges styles, it is difficult to define where the genre starts and ends.

POSTER SETS

EXPLORATIONS

T exhibits the curved bracketed serifs of century schoolbook.

Q sports a reflexive tail that ends in a curve.

The counter of e is as large as possible while maintaining a heavy stroke.

The top serifs of u are not bilateral serifs.

The lowercase c has a round ball serif.

A ball serif ends the curve of the r.

F has a serif that opens out to the right.

The arc of the stem of J ends in a ball serif.

The O exhibits verticle stress.

There is a serif on the bottom left stem of L.

D has an large counter. serif on ear of g.

The leg and arm of the k meet out from the stem.

The middle vertex of w is the crossing of two bars.

The crossing bars of x have no break and are continuous lines.

The left stem of m has a angled serif.

The s has slightly tilted stress.

The finial of the e opens out.

There is a curve that connects the stem and crossbar of t.

There is a ball serif on top of the two-story a.

The curled tail of y ends in a ball serif.

There is a ball

4 5

6 3

14 16

1 T exhibits the curved bracketed serifs of century schoolbook. 2 The counter of e is as large as possible while maintaining a heavy stroke weight. 3 Q sports a reflexive tail that ends in a curve. 4 The top serifs of u are not bilateral serifs. 5 The lowercase c has a round ball serif. 6 The leg and arm of the k meet outfrom the stem. 7 A ball serif ends the curve of the r. 8 The middle vertex of w is the crossing of two bars. 9 F has a serif that opens out to the right. 10 The crossing bars of x have no break and are continuous lines. 11 The arc of the stem of J ends in a ball serif. 12 The left stem of m has a angled serif. 13 The s has slightly tilted stress. 14 The O exhibits verticle stress. 15 The finial of the e opens out. 16 There is a curve that connects the stem and crossbar of t. 17 There is a serif on the bottom left stem of L. 18 There is a ball serif on top of the two-story a. 19 The curled tail of y ends in a ball serif. 20 D has an large counter. 21 There is a ball serif on ear of g.

T exhibits the curved bracketed serifs of century schoolbook. The counter of e is as large as possible while maintaining a heavy stroke.

Q sports a reflexive tail that ends in a curve. The top serifs of u are not bilateral serifs. The lowercase c has a round ball serif. The leg and arm of the k meet out from the stem.

A ball serif ends the curve of the r. The middle vertex of w is the crossing of two bars.

F has a serif that opens out to the right. The crossing bars of x have no break and are continuous lines.

The arc of the stem of J ends in a ball serif. The left stem of m has a angled serif. The s has slightly tilted stress.

The O exhibits verticle stress. The finial of the e opens out. There is a curve that connects the stem and crossbar of t.

There is a serif on the bottom left stem of L. There is a ball serif on top of the two-story a. The curled tail of y ends in a ball serif.

D has an large counter. There is a ball serif on ear of g.

TRANSITIONAL SERIF:

F ound most often in the 18th century, transitional is between oldstyle and modern styles. T hey c o mmonly

f eature

bracketed

serifs,

l ow stress o n o as w ell as a flick o n the R. They

also tend to have more contrast than oldstyle but less than modern.

FINAL POSTER DESIGN

strokes maintained a visual density and that the space around and within the letter, or the counterform, was important as well and needed to be clear and open. As such, he increased the x-height, the stroke width, and overall letter spacing. He used heavy line weights in contrast to the modern boom because the thins were getting lost in bodies of text. Visual differentiations are exaggerated throughout as it features prominent blocky serifs that are gently bracketed with thick and thin strokes combined with generous white spaces within and between the letters. Century schoolbook is the typeface used in many textbook in english speaking countries. It has also been used in editorial design and brand communications. There is a single story version of the typeface called Schoolbook Infant used to help teach children how to read, but it is very rare. In 1920 there was an oldstyle version of Century Schoolbook released, paired later with an italic oldstyle version, but it was never as popular as the original and as such, was never digitized. Today, the Supreme Court of the United States of America requires that all briefs be typeset in the Century family. Century Schoolbook is a transitional serif typeface. Its family members are Century Schoolbook regular, italic, bold, and bold italic. Its father typeface Century Roman was based on two genres: Scotch Roman: De Vinne described Scotch Roman as “a small, neat round letter, with long ascenders, and not noticeably condensed or compressed”. It is considered somewhat modern because of its large ball terminals, horizontal and bracketed serifs, sharply vertical axis, and high stroke contrast. Didone: this classification is characterized by narrow unbracketed hairline serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, and is unornamented. The Transitional classification is characterized by verticle stress, bracketed serifs and a weight contrast more prominent than old style but less pronounced as modern. Other Transitional fonts include: Americana, Baskerville, Bulmer, and Perpetua. Century Schoolbook hosts several prominent characteristics including: Crispness and elegance, strokes that end in fine tapers, extremely round ball terminals, finely pointed serifs, low stroke contrast, easy readability (due to low contrast), a distinct ball terminal on the top curve of c, ball terminal on the hook of f, the ear of g, and the tail of j, a curled tail on R, a reflexive curled tail on Q, a prominent top spur on C, ball terminals on both tails of 3, and ball terminals on single tail of 2, 5, 6, and 9. Benton is also accredited with creating some order out of chaos in the typographical world, by establishing the concept of dividing up typefaces or fonts into families. He was also responsible for some of the most successful revivals in typographic history when he interpreted Bodoni and Garamond.

At that time the primary goal was legibility since Bodoni had influenced a bunch of designers to go thinner with text, making it hard to read. Century Roman was designed with a larger x-height and thicker hairlines in order to increase readability. Back in 1892, twenty-three different type foundries had been consolidated to form American Type Founders, and Lynn Boyd’s son Morris Fuller was given the task soon afterwards of consolidating and updating the numerous styles and faces that ATF had inherited. In this process, he also took on the task of updating his father’s designs, which resulted in his version of Century Expanded, issued in 1900, which proved to be a big success. Century Bold and Italic were issued soon afterward. Linn’s son, Morris Fuller Benton, made Century Schoolbook based off of Century Roman in 1919 for a textbook company called Ginn & Co the goal again was increased legibility as the typeface was being used in school textbooks. He used research from Clark University that said young readers more quickly identified letterforms with contrasting weights if the light

6 3

8 7

1 T he stem o f T exhibits t he c urved bracketed serifs that a re c haracteristic o f Century S choolbook a nd m any transitional serif typefaces. 2 The counter of e is as large as possible while maintaining a heavy stroke weight for legibility. 3 Q sports a reflexive tail that ends in a curve. 4 The top serifs of u are not bilateral serifs. 5 The lowercase c has a round ball serif. 6 The leg and arm of the k meet outfrom the stem. 7 A ball serif ends the curve of the r. 8 The middle vertex of w is the crossing of two bars. 9 F has a serif that opens out to the right. 10 The crossing bars of x have no break and are continuous lines. 11 The arc of the stem of J ends in a ball serif. 12 The left stem of m has a angled serif. 13 The s has slightly tilted stress. 14 The O exhibits verticle stress. 15 The finial of the e opens out. 16 There is a curve that connects the stem and crossbar of t. 17 There is a serif on the bottom left stem of L. 18 There is a ball serif on top of the two-story a. 19 The curled tail of y ends in a ball serif. 20 D has an large counter. 21 There is a ball serif on the ear of g.