Mou–single final by Randy Dunbar

ES Y D PH A NT GR E O U D O FOYP T NTN M A FO L

PE TY

! E

graphic design

Typography Portpolio/ Spring 20133 2013

ES Y D PH A NT GR E O U D O FOYP T NTN M A FO L

PE TY

! E

content 5 Ubiquitous Times. Helvetica neue 7 Brochure Didot 13 SNAP! Gill Sans. Franklin Gothic Heavy 23 Character Study Didot 25 Lyric poster Stencil Std Bold. Rosewood Std 27 Sketch Book Handwritting 29 Poster Designer Franklin Gothic Heavy, Franklin Gothic Book

Typography Portpolio/ Spring 2013

PH RA G

warded three Michelin

stars by the MICHELIN Guide Hong Kong and Macau 2012; L’Atelier de Joël Robuchon

and Macau 2012; L’Atelier de Joël Robuchon opened its doors in Hong Kong in 2006, based

opened its doors in Hong Kong in 2006, based

on a new concept which Joël Robuchon created in Tokyo in 2003. The décor of the

on a new concept which Joël Robuchon

L’Atelier restaurant series is contemporary chic featuring lush red velvet seating

The chefs are Annie Féolde, Italo Bassi and

and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough

solitude, but the old, well- travelled

to weather any number of human fashions and fads.

part a pocket ﬁeld guide to the living wonders that are

erywhere, but much originality is blocked if the way back

their type in digital form, using computers, but I have

to earlier discoveries is cut or overgrown. If you use this

no preconceptions about which brands of computers,

on display, and materials for the study of its visual form

principles, survival techniques, and ethics that apply. The

book as a guide, by all means leave the road when you

or which versions of which proprietary software, they

are many and widespread. The history of letterforms

principles of typography as I understand them are not

wish. That is pre- cisely the use of a road: to reach indi-

may use. The essential elements of style have more

and their usage is visible too, to those with access to

a set of dead conventions but the tribal customs of the

vidu- ally chosen points of departure. By all means break

to do with the goals the living, speaking hand - and its

manuscripts, inscriptions andold books, but from others

magic forest, where ancient voices speak from all direc-

the rules, and break them beautifully, deliberately, and

roots reach into living soil, though its branches may

it is largely hidden.

tions and new ones move to unremembered forms.

well. That is one of the ends for which they exist.

be hung each year with new machines. So long as the

Typography Portpolio/ Spring 2013

Letterforms change constantly, yet differ very little,

Typography Portpolio/ Spring 2013

MICHELIN

D GUI

BON APPETIT

LE MICHELIN GUIDE

Restaurant magazine.

6 LE MICHELIN GUIDE

Typography Portpolio/ Spring 2013

paul rand

andy warhol

massimo vignelli

andy warhol

paula scher

saul bass

michael bierut

milton glaser

alvin lustig

paula scher

alex steinweiss

in the june issue

milton glaser alex steinweiss massimo vignelli

michael bierut issue No. 8 vol. 12

michael bierut

issue No. 8 vol. 12

SNAP!

cipe pineles

alvin lustig

simo

n jo

ale

ste

!pans

inw eis

in the june issue

alvin lustig paul rand

paula scher

cipe pineles andy warhol saul bass

issue No. 8 vol. 12

massimo vignelli

the art

issue No. 8 vol. 12

+ design journal

in the june issue

SNAP!

Typography Portpolio/ Spring 2013

Bold CONDENSED

sketch book

Morris 18 Fuller Benton 4819

ATF

a Type

Found er

C EN

tury

popular headline

NOV. 20

BUREAU ROMA

Morris Fuller Benton was the son of Linn Boyd Benton, 1844 -1932. Both worked for American Type Founders, a consortium of typefounders formed in 1892 to compete with Mergenthaler Linotype. In the 1880s, the elder Benton’s invention of the pantographic punchcutter altered forever the design of fonts. Conventional hand hand filing of steel punches could not provide the series of identical replacements required for volume manufacture of matrices. Filing each letter in steel at actual size was replaced by preparation of a scaled engineering drawing for each character.

FRANKLIN GOTHIC BENTON GOTHIC FULLER

POYNTER GATE

Designer

M Fo un de r

p Ty

C EN

tury

ON DE N S

MO BUR

EA U

DONI

OT h

TON G BEN

BODO N

IN GOTHIC

BUREAU ROMA

of steel punches could not provide the series of identical replacements required forvolume manufacture of matrices. Filing each letter in steel at actual size was replaced by preparation of a scaled engineering drawing for each character.

When others see with earthly eyes Just what they want to see You will see the things that never die You will know and recognize By simple child-like faith The priceless truth that Others will deny. When others say I'm just a man Who likes to dream His dreams When others call a miracle a myth You'll listen for eternity

alex steinweiss massimo vignelli paula scher michael bierut alvin lustig in the june issue

Heavy

Morris Fuller Morris Fuller Benton Benton

18 19 48

Typography Portpolio/ Spring 2013

SNAP! 15

paula scher

snap!

michael bierut

massimo vignelli

cipe pineles

saul bass

SNAP! 21

THIS ROCK UPON sandi patti

with earthly I'm just a mAN Who Likes to

eyes Just whaT

DREAM

they want to see

His dreams

When others call a miracle a myth You'll

You will see

the things

that

never

die

listen for eternityIn

You will

know and

moments

recognize

as they pass And see with

By simple

child-like

spirit

faith

eyes What

priceless truth that

The 26

FRANKLIN GOTHIC Designed by:

Heavy

Morris Fuller Morris Fuller Benton Benton

andy warhol saul bass milton glaser

When others see When others say

NOV. 20

Bold CONDENSED

tury

popular headline

Mergenthaler Linotype. In the 1880s, the elder Benton’s invention of the pantographic punchcutter altered forever the design of fonts. Conventional hand hand filing

C EN

FRANKLIN GOTHIC

ic fuller

FRANKL

Morris Fuller Benton was the son of Linn Boyd Benton, 1844 -1932. Both worked for American Type Founders, a consortium of typefounders formed in 1892 to compete with

M GGM M

Bold C FB

Designer

cipe pineles

andy warhol

UPON THIS ROCK

M GGM M

Poster Design

e lin ad he

paul rand

Typography Portpolio/ Spring 2013

Morris 18 Fuller Benton 4819

ATF

A m e ri

in 1818 is considered his masterwork. The typeface takes inspiration from John Baskerville's experimentation with increasing stroke contrast and a more condensed armature. The Didot family's development of a high contrast typeface with an increased stress is contemporary to similar faces developed by Giambattista Bodoni in Italy. Didot is described as neoclassical, and is evocative of the Age of Enlightenment.

Americ

Typography Portpolio/ Spring 2013

Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784– 1811. Firmin Didot cut the letters, and cast them as type in Paris. His brother, Pierre Didotused the types in printing. His edition of La Henriade by Voltaire

idot

issue No. 8 vol. 12

SNAP!

CHArACTEr STuDy

po pu la r

michael bierut

Due to the other captains following the theme A for Alph, B for Brittany and C for Charlie, and the fact that the new ship is nicknamed Drake, some players have speculated that the title and possibly some character aspects of the possibly scrapped Character D could have been given to the new ship.

ELTEN HAM G

SNAP!

saul bass

paula scher

Character D was a character shown at the original E3 presentation of Pikmin 3. However, since then, the game was revealed to focus on 3 Captains, rather than This has lead fans to believe that he was scrapped. It is possible that he serves a different purpose, as opposed to being a playable Captain.

snap! Typography Portpolio/ Spring 2013

cipe pineles

massimo vignelli

milton glaser alex steinweiss

Character Styd

nap!

the artt + design journal

alvin lustig

snap! the art + design jour-

alvin lustig paul rand milton glaser

snap!

SNAP!

Typography Portpolio/ Spring 2013

alex steinweiss milton glaser

sig

lli vigne

michael bierut andy warhol

Lyric Poster

sas

SNAP!

mas

in the june issue

alvin lustig

SNAP!

paula scher

saul bass

ssa

paula scher

in the june issue

cipe pineles

issue No. 8 vol. 12

cipe pineles

massimo vignelli

u pa

saul bass

alex steinweiss

massimo vignelli

tig

cipe pineles

saul bass

milton glaser

the art + design journal paul rand

lus

paul rand

snap!

issue No. 8 vol. 12

alvin lustig

the art + design journal

andy warhol

andy warhol in the ju paula ne issue sche r milton glaser

snap!

alv

snap!

paul rand cipe pineles

Top 40 restaurants in the US Gayot.com

Typography Portpolio/ Spring 2013

Best Seafood Restaurant 2006 Best of LA Issue, LA Magazine

2 LE MICHELIN GUIDE

The major takeaway of doing the snaps for constantly eight weeks is a better understanding of how to play around the type to creat defferent style of output. For example, a simple change of the font size can creat a signiﬁcant difference for he whole art work. The different placement of the character can lead audience to various distneies. The color deﬁnetely give the charactrs personalities that changes whole atmosphere of the artwork.

Guide 2012. In 2008, the restaurant was voted 32nd best in the world by the British

Restaurant magazine.

Nominated for Best New Restaurant 2005 - James Beard Foundation

a P N s

light, true knowledge, true surprise.

Riccardo Monco. The restaurant ranked 62nd

voted 32nd best in the world by the British

Best Seafood Restaurant 2006 Best of LA Issue, LA Magazine Top 40 restaurants in the US Gayot.com

root lives, typography remains a source of true de-

because they are alive. The principles of typographic

in the Elite Traveler World’s Top Restaurants

Guide 2012. In 2008, the restaurant was

Nominated for Best New Restaurant 2005 - James Beard Foundation

any particular typesetting system or medium. I suppose that most readers of this book will set most of

found there, and in part a meditation on the ecological

One question, nevertheless, has been often in my

One of America’s Best New Restaurants 2005 Esquire Magazine

pher’s tools are presently changing with considerable

makes any sense at all. It makes visual sense and

mind. When all right-thinking human beings are strug-

One of America’s Top 50 Restaurants - Gourmet Magazine

Magazine

force and speed, but this is not a manual in the use of

tradition is concealed or left for dead. Originality is ev-

historical sense. The visual side of typography is always

This book has therefore grown into some-thing more

Restaurants - Gourmet Magazine One of America’s Best New

independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of It is true that typogra-

a sense of where they lead.

than a short manual of typo-graphic etiquette. It is the

PROVIDEN CE

One of America’s Top 50

Restaurants 2005 - Esquire

low or not, and to enter and leave choose - if only we know the paths

That freedom is denied us if the fruit of a lot of long walks in the wilderness of letters: in

-PROVIDENCE -L’ATELIER ROBUCHON -ENOTECCA PIN CHIORRI

Typography is the craft of endowing human lan-

are there and have

By: Lan Mou

LE MICHELIN GUIDE

guage with a durable visual form, and thus with an

Pinchiorri and French-born Annie Féolde.

in the Elite Traveler World’s Top Restaurants

Typography Portpolio/ Spring 2013

call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read

the silence before dawn. The subject of this book is not typographic

noteca Pinchiorri is a restaurant

in Florence, Italy. The owners are Giorgio

michael bierut

on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to

and against the grain of the land, crossing common thoroughfares in

Riccardo Monco. The restaurant ranked 62nd

andy warhol andy

are based on the structure and scale of the human body - the eye, the hand, and the forearm in particular - and

must move, like other solitary travellers, through uninhabited country

The chefs are Annie Féolde, Italo Bassi and

paul p aul rand

themselves than with the mutable or Renaissance Italy. The principles that unite these distant schools of design

sires and directions. A typographer determined to forge new routes

Enotecca Pin chiorri

Pinchiorri and French-born Annie Féolde.

milton glaser

concern - and there are no paths at

roads at the core of the tradition:

when we

Typography makes at least two kinds of sense, if it

China, The Egyptian New Kingdom typographers set for

all where there are no shared de-

paths that each of us is free to fol-

The presence of typography both good and bad, can be seen everywhere

complemented by dark wood furniture.

in Florence, Italy. The owners are Giorgio

steinweiss alex steinw stein weiss eiss

biquitous Type

chic featuring lush red velvet seating

noteca Pinchiorri is a restaurant

Typography Portpolio/ Spring 2013

Writing systems vary, but a good page is not hard to learn to recognize, whether it comes from Tang Dynasty

Typography thrives as a shared

L’Atelier restaurant series is contemporary

LE MICHELIN GUIDE

Typography Portpolio/ Spring 2013

subtle, and perfectly legible thirty centuries after they were made.

b lu as

created in Tokyo in 2003. The décor of the

complemented by dark wood furniture.

warded three Michelin

stars by the MICHELIN Guide Hong Kong

on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively,

instructions? Surely typographers, like others, ought to be at liberty

SNAP!

and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens

reason and authority exist for these commandments, suggestions, and

Brochure

L’ATELIER ROBUC HON

of the ﬁfteenth century, when the ﬁrst books were printed in roman type. Indeed, most of the principles of legibility

more different still, how can one honestly write a rulebook? What

to follow or to blaze the trails they

clarity have also scarcely altered since the second half

men and women are free to be different,6 and free to become

choose.

N LA

TY Typography Portpolio/ Spring 20133 2013

gling to remember that other

Brochure

PO TY

P Y T

graphic design

Ubiquitous

PDEESI TYNT EDE P FO T TFYON PE

Others will deny

others miss.

Ubiquitous

biquitous T

The presence of typography both good and bad, can b

By: Lan Mou Typography makes at least two kinds of sense, if it

fruit of a lot of long walks in the wilderness of lette

makes any sense at all. It makes visual sense and

part a pocket ďŹ eld guide to the living wonders tha

historical sense. The visual side of typography is always

found there, and in part a meditation on the ecolo

on display, and materials for the study of its visual form

principles, survival techniques, and ethics that ap

are many and widespread. The history of letterforms

principles of typography as I understand them are

and their usage is visible too, to those with access to

a set of dead conventions but the tribal customs o

manuscripts, inscriptions andold books, but from others

magic forest, where ancient voices speak from al

it is largely hidden.

tions and new ones move to unremembered form

This book has therefore grown into some-thing more than a short manual of typo-graphic etiquette. It is the

Typography Portpolio/ Spring 2013

One question, nevertheless, has been often in

mind. When all right-thinking human beings are s

gling to remember that other

clarity have also scarcely altered since the second half

men and women are free to be

of the ﬁfteenth century, when the ﬁrst books were printed

different,6 and free to become

in roman type. Indeed, most of the principles of legibility

more different still, how can one

and design explored in this book were known and used

honestly write a rulebook? What

by Egyptian scribes writing hieratic script with reed pens

reason and authority exist for these

on papyrus in 1000 B.C. Samples of their work sit now

commandments, suggestions, and

in museums in Cairo, London and New York, still lively,

instructions? Surely typographers,

subtle, and perfectly legible thirty centuries after they

like others, ought to be at liberty

were made. Writing systems vary, but a good page is not hard to

to follow or to blaze the trails they choose.

learn to recognize, whether it comes from Tang Dynasty

Typography thrives as a shared

Type

be seen everywhere

when we

China, The Egyptian New Kingdom typographers set for

concern - and there are no paths at

themselves than with the mutable or Renaissance Italy.

all where there are no shared de-

The principles that unite these distant schools of design

sires and directions. A typographer

are based on the structure and scale of the human body

determined to forge new routes

- the eye, the hand, and the forearm in particular - and

must move, like other solitary trav-

on the invisible but no less real, no less demanding, no

ellers, through uninhabited country

less sensuous anatomy of the human mind. I don’t like to

and against the grain of the land,

call these principles universals, because they are largely

crossing common thoroughfares in

unique to our species. Dogs and ants, for example, read

the silence before dawn. The sub-

and write by more chemical means. But the underlying

ject of this book is not typographic

principles of typography are, at any rate, stable enough

solitude, but the old, well- travelled

to weather any number of human fashions and fads. Typography is the craft of endowing human lan-

roads at the core of the tradition: paths that each of us is free to fol-

guage with a durable visual form, and thus with an

low or not, and to enter and leave

independent existence. Its heartwood is calligraphy

choose - if only we know the paths

- the dance, on a tiny stage, of It is true that typogra-

are there and have

pher’s tools are presently changing with considerable

a sense of where they lead.

force and speed, but this is not a manual in the use of

That freedom is denied us if the

any particular typesetting system or medium. I sup-

tradition is concealed or left for dead. Originality is ev-

pose that most readers of this book will set most of

at are

erywhere, but much originality is blocked if the way back

their type in digital form, using computers, but I have

ogical

to earlier discoveries is cut or overgrown. If you use this

no preconceptions about which brands of computers,

pply. The

book as a guide, by all means leave the road when you

or which versions of which proprietary software, they

e not

wish. That is pre- cisely the use of a road: to reach indi-

may use. The essential elements of style have more

of the

vidu- ally chosen points of departure. By all means break

to do with the goals the living, speaking hand - and its

ll direc-

the rules, and break them beautifully, deliberately, and

roots reach into living soil, though its branches may

well. That is one of the ends for which they exist.

be hung each year with new machines. So long as the

ers: in

ms.

n my

strug-

Letterforms change constantly, yet differ very little,

root lives, typography remains a source of true de-

because they are alive. The principles of typographic

light, true knowledge, true surprise.

Brochure

LE MICHELIN GUIDE -PROVIDENCE -L’ATELIER ROBUCHON -ENOTECCA PIN CHIORRI

One of America’s Top 50 Restaurants - Gourmet Magazine One of America’s Best New Restaurants 2005 - Esquire Magazine Nominated for Best New Restaurant 2005 - James Beard Foundation Best Seafood Restaurant 2006 Best of LA Issue, LA Magazine Top 40 restaurants in the US Gayot.com

Typography Portpolio/ Spring 2013

PROV One of America’s Top 50 Restaurants - Gourmet Magazine One of America’s Best New Restaurants 2005 Esquire Magazine Nominated for Best New Restaurant 2005 - James Beard Foundation Best Seafood Restaurant 2006 Best of LA Issue, LA Magazine Top 40 restaurants in the US Gayot.com

2 LE MICHELIN GUIDE

VIDEN CE

Brochure

L’ATELIER ROBUC HO

warded three Michelin

stars by the MICHELIN Guide Hong Kong and Macau 2012; L’Atelier de Joël Robuchon opened its doors in Hong Kong in 2006, based on a new concept which Joël Robuchon created in Tokyo in 2003. The décor of the L’Atelier restaurant series is contemporary chic featuring lush red velvet seating complemented by dark wood furniture.

4 LE MICHELIN GUIDE

noteca Pinchiorri is a restaurant

in Florence, Italy. The owners are Giorgio Pinchiorri and French-born Annie Féolde.

Enote E

noteca Pinchiorri is a restaurant

The chefs are Annie Féolde, Italo Bassi and

in Florence, Italy. The owners are Giorgio

Riccardo Monco. The restaurant ranked 62nd

The chefs are Annie Féolde, Italo Bassi and

in the Elite Traveler World’s Top Restaurants Guide 2012. In 2008, the restaurant was voted 32nd best in the world by the British Restaurant magazine.

Typography Portpolio/ Spring 2013

Pinchiorri and French-born Annie Féolde.

Riccardo Monco. The restaurant ranked 62nd in the Elite Traveler World’s Top Restaurants Guide 2012. In 2008, the restaurant was voted 32nd best in the world by the British Restaurant magazine.

6 LE MICHELIN GUIDE

warded three Michelin

ecca Pin chiorri

Brochure LE

MICHELIN

Typography Portpolio/ Spring 2013

D GUI

BON APPETIT

8 LE MICHELIN GUIDE

SNAP!

a P N s The major takeaway of doing the snaps for constantly eight weeks is a better understanding of how to play around the type to creat defferent style of output. For example, a simple change of the font size can creat a significant difference for he whole art work. The different placement of the character can lead audience to various distneies. The color definetely give the charactrs personalities that changes whole atmosphere of the artwork.

Typography Portpolio/ Spring 2013

snap! the art + design jourissue No. 8 vol. 12 paul rand cipe pineles andy warhol saul bass milton glaser alex steinweiss massimo vignelli paula scher michael bierut alvin lustig in the june issue

SNAP! 15

paul rand cipe pineles andy warhol saul bass milton glaser alex steinweiss massimo vignelli paula scher michael bierut alvin lustig issue No. 8 vol. 12

SNAP!

Typography Portpolio/ Spring 2013

snap! the art + design journal paul rand

issue No. 8 vol. 12

cipe pineles

massimo vignelli

andy warhol

paula scher

saul bass

michael bierut

milton glaser

alvin lustig

alex steinweiss

in the june issue

SNAP! 17

snap! alvin lustig paul rand cipe pineles andy warhol saul bass milton glaser alex steinweiss massimo vignelli paula scher michael bierut issue No. 8 vol. 12 in the june issue

SNAP! Typography Portpolio/ Spring 2013

in al v

andy warhol in the j u n e issue paul a sch er r e s a l g n o t l i m

l u a

d n ra

tig lus

ss a b

sig

cipe pineles elli

lu a s

n o vig

sim mas

ale

ste

!pans

SNAP! 19

inw eis

issue No. 8 vol. 12 the art + design journal massimo vignelli paul rand in the june issue paula scher michael bierut andy warhol alex steinweiss cipe pineles milton glaser saul bass

alvin lustig

snap!

snap! SNAP! Typography Portpolio/ Spring 2013

paula scher

alvin lustig paul rand milton glaser

snap!

michael bierut

massimo vignelli andy warhol

cipe pineles

saul bass

SNAP! 21

sa the artt + design journal

alvin lustig

in the june issue

paula scher

steinweiss steinw eiss alex steinweiss

issue No. 8 vol. 12

massimo vignelli

milton glaser

paul rand paul

andy warhol andy

michael bierut

cipe pineles

SNAP!

Typography Portpolio/ Spring 2013

saul bass

nap!

alvin lustig paul rand

cipe pineles andy warhol saul bass

the art

milton glaser alex steinweiss massimo vignelli paula scher michael bierut issue No. 8 vol. 12

+ design journal

in the june issue

SNAP! 23

Character Styd

Typography Portpolio/ Spring 2013

Character Study

d idot

Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784â&#x20AC;&#x201C; 1811. Firmin Didot cut the letters, and cast them as type in Paris. His brother, Pierre Didotused the types in printing. His edition of La Henriade by Voltaire

Lyric Poster

UPON THIS ROCK When others see with earthly eyes Just what they want to see You will see the things that never die You will know and recognize By simple child-like faith The priceless truth that Others will deny. When others say I'm just a man Who likes to dream His dreams When others call a miracle a myth You'll listen for eternity

Typography Portpolio/ Spring 2013

I S H T R O N C O K P U sandi patti

When others see When others say

with earthly I'm just a mAN eyes Just whaT Who Likes to

DREAM

they

want to see

His dreams

When others call a miracle a myth You'll

You will see

the

things

that

never

die

listen for eternityIn

You will

know and

moments

recognize

as they pass And see with

By simple

child-like

spirit

faith

eyes What

priceless truth that

The

Others will deny

others miss.

sketch book Typography Portpolio/ Spring 2013

aT ype

Bold CONDENSED

Morris 18 Fuller C 19 EN Benton 48 ATF

eri c

Fou nd

tury

popular headline

NOV. 20

BUREAU ROMA

FRANKLIN GOTHIC BENTON GOTHIC FULLER

POYNTER GATE

Designer

Poster Design

Morris 18 Fuller C 19 EN Benton 48 ATF

Fo un de r

A m e ri

po pu la r

e lin ad he

Bold

CO ND EN S

BU AMO R ND

EA U

DONI BO Designer G NTON O BE

BODO N

manufacture of matrices. Filing each letter in steel at actual size was replaced by preparation of a scaled engineering drawing for each character.

18 19 48

NOV. 20

of steel punches could not provide the series of identical replacements required forvolume

Typography Portpolio/ Spring 2013

Heavy

Morris Fuller Morris Fuller Benton Benton

THIC LIN GO

tury

popular headline

BUREAU ROMA

Bold CONDENSED

Mergenthaler Linotype. In the 1880s, the elder Benton’s invention of the pantographic punchcutter altered forever the design of fonts. Conventional hand hand filing

C EN

FRANKLIN GOTHIC

T hic fuller

FRANK

Morris Fuller Benton was the son of Linn Boyd Benton, 1844 -1932. Both worked for American Type Founders, a consortium of typefounders formed in 1892 to compete with

M GM

E LTEN HAM G

tury

FRANKLIN GOTHIC Designed by:

Heavy

Morris Fuller Morris Fuller Benton Benton

Morris Fuller Benton was the son of Linn Boyd Benton, 1844 -1932. Both worked for American Type Founders, a consortium of typefounders formed in 1892 to compete with Mergenthaler Linotype. In the 1880s, the elder Bentonâ&#x20AC;&#x2122;s invention of the pantographic punchcutter altered forever the design of fonts. Conventional hand hand filing of steel punches could not provide the series of identical replacements required for volume manufacture of matrices. Filing each letter in steel at actual size was replaced by preparation of a scaled engineering drawing for eachcharacter.