YARNTONE
TYPOGRAPHIC CALENDAR 2013
January
January 2013 MONDAY 1231 C
TUESDAY 0101 C
WEDNESDAY 0102 C
THURSDAY 0103 C
FRIDAY 0104 C
SATURDAY 0105 C
SUNDAY 0106 C
MONDAY 0107 C
TUESDAY 0108 C
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THURSDAY 0110 C
FRIDAY 0111 C
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SUNDAY 0113 C
January 2013 MONDAY 0114 C
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MONDAY 0128 C
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THURSDAY 0131 C
FRIDAY 0201 C
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SUNDAY 0203 C
Minion Pro
MINION PRO 1990
ROBERT SLIMBACH 1956–present
Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of Minion was released in 1990. Cyrillic additions were released in 1992, and finally the OpenType Pro version was released in 2000. Minion Pro is inspired by classical, old style typefaces of the late Renaissance, a period of elegant, beautiful, and highly readable type designs. Minion Pro combines the aesthetic and functional qualities that make text type highly readable with the versatility of OpenType digital technology, yielding unprecedented flexibility and typographic control, whether for lengthy text or display settings. The full Minion Pro family contains three weights and two widths, each with optical size variants, and each supporting a full range of Western languages, including Greek and Cyrillic. With its many ligatures, small caps, oldstyle figures, swashes, and other added glyphs, Minion Pro is ideal for uses ranging from limited-edition books to newsletters to packaging.
Robert Slimbach, who was born in Evanston, Illinois, received his training and early experience of type design in the drawing office of Autologic in California. In 1987, after two years of self-employment, which saw him contribute ITC Slimbach and ITC Giovanni to the International Typeface Corporation, he joined Adobe Systems. Since then, he has been designing
and developing typefaces for the Adobe Originals program. Slimbach’s typefaces offer type users a rich palette of designs, mostly for text use, based on his enthusiasm for classic letter forms. In 1999 he received the Prix Charles Peignot from the Association Typographique Internationale for excellence in type design.
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February
February 2013 MONDAY 0128 C
TUESDAY 0129 C
WEDNESDAY 0130 C
THURSDAY 0131 C
FRIDAY 0201 C
SATURDAY 0202 C
SUNDAY 0203 C
MONDAY 0204 C
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SUNDAY 0210 C
February 2013 MONDAY 0211 C
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SUNDAY 0224 C
February 2013 MONDAY 0225 C
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FRIDAY 0301 C
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SUNDAY 0303 C
Helvetica Neue
HELVETICA NEUE 1983
MAX MIEDINGER 1910–1980
The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® design, which was a re-working of the 1957 original. The outcome was a synthesis of aesthetic and technical refinements and modifications that resulted in improved appearance, legibility and usefulness.
Max Miedinger, born in Zurich, was an in-house designer with the Haas foundry in Munchenstein, Switzerland. His most famous typeface is Helvetica, currently one of the most widely used sans serifs, which was designed in 1956. Edward Hoffman of Haas had asked Miedinger to adapt the existing Haas Grotesk to bring it in line with current taste. Haas Grotesk century German grotesques like Berthold’s Akzidenz-Grotesk. The type, which was created from Miedinger’s china-ink drawings, seemed like a new
design in its own right, rather than an old one with minor retouching as had been the original plan. Although designed for the home market, the thencalled Neue Haas Grotesk proved popluar farther afield. When Stempel AG in Germany released the face in 1961 they called it Helvetica, the traditional Latin name for Switzerland, in order to capitalize on the fashion for Swiss typography. Additional weights were added to the Helvetica family over the years. In 1983 Linotype released a new, more extensive version, Neue Helvetica, in 51 weights.
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March
March 2013 MONDAY 0225 C
TUESDAY 0226 C
WEDNESDAY 0227 C
THURSDAY 0228 C
FRIDAY 0301 C
SATURDAY 0302 C
SUNDAY 0303 C
MONDAY 0304 C
TUESDAY 0305 C
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SUNDAY 0310 C
March 2013 MONDAY 0311 C
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MONDAY 0318 C
TUESDAY 0319 C
WEDNESDAY 0320 C
THURSDAY 0321 C
FRIDAY 0322 C
SATURDAY 0323 C
SUNDAY 0324 C
March 2013 MONDAY 0325 C
TUESDAY 0326 C
WEDNESDAY 0327 C
THURSDAY 0328 C
FRIDAY 0329 C
SATURDAY 0330 C
SUNDAY 0331 C
Adobe Caslon Pro
ADOBE CASLON PRO 1772
CAROL TWOMBLY See page 41 (May)
WILLIAM CASLON 1692–1766
William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType Pro version merges formerly separate fonts (expert, etc.), and adds both central European language support and several additional ligatures. Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications.
William Caslon I was the first British typefounder of any renown and was responsible for ending the dependence of British printers on imported Dutch types which (with some French types) had dominated the market throughout the 17th century. Born in Worcestershire, William Caslon began his career in London engraving and chasing gun barrels (occasionally also cutting brass letters for bookbinders) until a printer called William Bowyer, after seeing some of his letters, encouraged him to
try punch-cutting. Bowyer lent him €500 to start his own foundry, which he opened in London’s Vine Street probably in 1722 or 1723. In 1734 the foundry moved to Chiswell Street, where Caslon published his famous specimen sheet showing a full range of the roman types he cut. His work found particular favour in America, and Caslon type was used by Mary Katherine Goddard of Baltimore for printing the Declaration of Independence.
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April
April 2013 MONDAY 0401 C
TUESDAY 0402 C
WEDNESDAY 0403 C
THURSDAY 0404 C
FRIDAY 0405 C
SATURDAY 0406 C
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MONDAY 0408 C
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April 2013 MONDAY 0415 C
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MONDAY 0422 C
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SATURDAY 0427 C
SUNDAY 0428 C
April 2013 MONDAY 0429 C
TUESDAY 0430 C
WEDNESDAY 0417 C
THURSDAY 0501 C
FRIDAY 0502 C
SATURDAY 0503 C
SUNDAY 0504 C
Century Schoolbook
CENTURY SCHOOLBOOK
1918
MORRIS FULLER BENTON
1872–1948
Another version of the Century family was produced when Ginn & Company, a textbook publisher, commissioned American Type Founders to design a typeface with maximum legibility. Morris Benton researched the subjects of eyesight and legibility, then created Century Schoolbook, which was released between 1918 and 1921. Century Schoolbook is still seen in elementary school texts, and can be used for text work where legibility is a primary consideration.
Morris Fuller Benton is accredited with being the most prolific type designer in American history, with an output twice as great as that of Frederic Goudy (although in fairness Goudy did not start his career until a later age). A factor in his relative anonymity was his position as an in-house designer, but in a position that suited his retiring character:
when pressed he would put his successes down to ‘Lady Luck’. Benton has been credited with inventing the concept of the type family and although this is not the case he did do his best work expanding faces into families and adapting existing type styles for ATF. Between 1900 and 1928 he designed 18 variations on Century, including the popular Century Schoolbook.
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May
May 2013 MONDAY
0429 C
TUESDAY
0430 C
WEDNESDAY
0501 C
THURSDAY
0502 C
FRIDAY
0503 C
SATURDAY
0504 C
SUNDAY
0505 C
MONDAY
0506 C
TUESDAY
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WEDNESDAY
0508 C
THURSDAY
0509 C
FRIDAY
0510 C
SATURDAY
0511 C
SUNDAY
0512 C
May 2013 MONDAY
0513 C
TUESDAY
0514 C
WEDNESDAY
0515 C
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0516 C
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0517 C
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0518 C
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MONDAY
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TUESDAY
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0524 C
SATURDAY
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SUNDAY
0526 C
May 2013 MONDAY
0527 C
TUESDAY
0528 C
WEDNESDAY
0529 C
THURSDAY
0530 C
FRIDAY
0531 C
SATURDAY
0601 C
SUNDAY
0602 C
Myriad Pro
MYRIAD PRO
1992
An Adobe Originals design first released in 1992, Myriad has become popular for both text and display composition. As an OpenType release, Myriad Pro expands this sans serif family to include Greek and Cyrillic glyphs, as well as adding oldstyle figures and improving support for Latin-based languages. The full Myriad Pro family includes condensed, normal, and extended widths in a full range of weights. Designed by Robert Slimbach & Carol Twombly with Fred Brady & Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail. Myriad Pro’s clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read, while the wide variety of weights and widths in the family provide a generous creative palette for even the most demanding display typography.
ROBERT SLIMBACH
See page 9 (January)
CAROL TWOMBLY
1959 – present
Carol Twombly studied design at the Rhode Island School of Design, where she became interested in type design and typography. She received an MS from Stanford University in the graduate programme of digital typography under Charles Bigelow, and later joined the Bigelow & Holmes Studio. In the Morisawa Typeface Design Competition in 1984 she won first
prize for Mirarae, a latin design which has since been licensed and released. A member of the Adobe type studio since 1988, Twombly has designed many successful display and text typefaces for the Adobe Originals library. In 1994 she was the first woman to receive from ATypI the Prix Charles Peignot for outstanding contributions to type design.
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June
June 2013 MONDAY 0527 C
TUESDAY 0528 C
WEDNESDAY 0529 C
THURSDAY 0530 C
FRIDAY 0531 C
SATURDAY 0601 C
SUNDAY 0602 C
MONDAY 0603 C
TUESDAY 0604 C
WEDNESDAY 0605 C
THURSDAY 0606 C
FRIDAY 0607 C
SATURDAY 0608 C
SUNDAY 0609 C
June 2013 MONDAY 0610 C
TUESDAY 0611 C
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FRIDAY 0614 C
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MONDAY 0617 C
TUESDAY 0618 C
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FRIDAY 0621 C
SATURDAY 0622 C
SUNDAY 0623 C
June 2013 MONDAY 0624 C
TUESDAY 0625 C
WEDNESDAY 0626 C
THURSDAY 0627 C
FRIDAY 0628 C
SATURDAY 0629 C
SUNDAY 0630 C
Goudy Old Style
GOUDY OLD STYLE
1915
FREDERIC W. GOUDY
1865-1947
In 1915, Frederic W. Goudy designed Goudy Old Style, his twenty-fifth typeface, and his first for American Type Founders. Flexible enough for both text and display, it’s one of the most popular typefaces ever produced, frequently used for packaging and advertising. Its recognizable features include the diamond-shaped dots on i, j, and on punctuation marks; the upturned ear of the g; and the base of E and L. Several years later, in response to the overwhelming popularity of Cooper Black, Lanston Monotype commissioned Frederic W. Goudy to design heavy versions of Goudy Old Style. Goudy Heavyface and Goudy Heavyface Italic were released in 1925. The huge success of Goudy’s typefaces led to the addition of several weights to many of his typefaces; designers working for American Type Founders produced additions to the family. In 1927, Morris Fuller Benton drew Goudy Extra Bold. Frederic Goudy, one of the best-known and most prolific of type designers, designed, by his own reckoning, 123 faces. Born in Bloomington, Illinois, he worked in various cities before founding the Booklet Press in Chicago in 1895 with equipment bought from Will Bradley. The sale of a set of capitals of his own design to the Bruce Type Foundry, Boston, encouraged him to become a freelance lettering artist. Goudy’s
breakthrough with type design came in 1911. He designed Kennerley Old Style for the publishers Mitchell Kennerley on the understanding that he could sell it to the trade. He set up the Village Letter Foundry to cast and sell Kennerley and a titling font, Forum. These established his reputation, and American Type Founders commissioned Goudy Old Style, regarded as one of his finest designs.
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July
July 2013 MONDAY 0701 C
TUESDAY 0702 C
WEDNESDAY 0703 C
THURSDAY 0704 C
FRIDAY 0705 C
SATURDAY 0706 C
SUNDAY 0707 C
MONDAY 0708 C
TUESDAY 0709 C
WEDNESDAY 0710 C
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SUNDAY 0714 C
July 2013 MONDAY 0715 C
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TUESDAY 0723 C
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SATURDAY 0727 C
SUNDAY 0728 C
July 2013 MONDAY 0729 C
TUESDAY 0730 C
WEDNESDAY 0731 C
THURSDAY 0801 C
FRIDAY 0802 C
SATURDAY 0803 C
SUNDAY 0804 C
Century Gothic
CENTURY GOTHIC
1947
SOL HESS
1886-1953
Century Gothic Regular fonts maintains the basic design of 20th Century but has an enlarged ‘x’ height and has been modified to ensure satisfactory output from modern digital systems. A design based on 20th Century, which was drawn by Sol Hess between 1936 and 1947. The Century Gothic Fonts Regular design is influenced by the geometric style sans serif faces which were popular during the 1920’s and 30’s. Century Gothic Fonts Regular is useful for headlines and general display work and for small quantities of text, particularly in advertising.
For 50 Years Sol Hess was art director of Lanston Monotype Machinery Co., where he succeeded his friend and c oll abo rato r F W Goudy. He started with the company in 1902 after a three-year scholarship couse at Pennsylvania Museum School of Industrial Art, and as a type designer there he redrew and readapted all
their typographical materials. His forte was the development of type families, and during his years with Lanston monotype he carried out commissions for many leading American companies, including Curtis Publishing, Crowell-Collier, Sears Roebuck, Montgomery Ward, Yale University Press and World Publishing Company.
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August
August 2013 MONDAY 0729 C
TUESDAY 0730 C
WEDNESDAY 0731 C
THURSDAY 0801 C
FRIDAY 0802 C
SATURDAY 0803 C
SUNDAY 0804 C
MONDAY 0805 C
TUESDAY 0806 C
WEDNESDAY 0807 C
THURSDAY 0808 C
FRIDAY 0809 C
SATURDAY 0810 C
SUNDAY 0811 C
August 2013 MONDAY 0812 C
TUESDAY 0813 C
WEDNESDAY 0814 C
THURSDAY 0815 C
FRIDAY 0816 C
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SUNDAY 0818 C
MONDAY 0819 C
TUESDAY 0820 C
WEDNESDAY 0821 C
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SATURDAY 0824 C
SUNDAY 0825 C
August 2013 MONDAY 0826 C
TUESDAY 0827 C
WEDNESDAY 0828 C
THURSDAY 0829 C
FRIDAY 0830 C
SATURDAY 0831 C
SUNDAY 0901 C
Perpetua
PERPETUA 1932
ERIC GILL 1872–1948
Type designer Eric Gill’s most popular Roman typeface is Perpetua, which was released by the Monotype Corporation between 1925 and 1932. It first appeared in a limited edition of the book The Passion of Perpetua and Felicity, for which the typeface was named. The italic form was originally called Felicity. Perpetua’s clean chiseled look recalls Gill’s stonecutting work and makes it an excellent text typeface, giving sparkle to long passages of text; the Perpetua capitals have beautiful, classical lines that make this one of the finest display alphabets available.
Arthur Eric Rowton Gill, lettercutter, sculptor, wood-engraver and type designer, was one of the most prominent and controversial figures of his day. Born in Brighton, Gill studied at Chichester School of Art before being apprenticed to an ecclesiastical architect in London. Whilst there he attended the classes of the calligrapher Edward Johnston at the Central School of Arts and Crafts. Thus he became involved in the small world of scribes and illuminators and the Arts and Crafts Movement, embarking on a career as a stone cutter and letterer. Gill designed his
first typeface at the invitation of Stanley Morison of the Monotype Corporation.The drawings for the type, Perpetua, were begun in 1925. Gill Sans, designed during the same period, was based on the same sources as the Johnston Sans Serif. Gill had painted san-serif lettering on the Douglas Cleverdon’s Bristol Bookshop in 1927 and it was this that suggested the idea of a Gill sans serif to Morison. Joanna was cut by the Caslon foundry; one of its own Essay on Typography. These three typefaces are from his most creative period.
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September
September 2013 MONDAY 0826 C
TUESDAY
0827 C
WEDNESDAY 0828 C
THURSDAY 0829 C
FRIDAY 0830 C
SATURDAY 0831 C
SUNDAY 0901 C
MONDAY 0902 C
TUESDAY 0903 C
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September 2013 MONDAY 0909 C
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MONDAY 0916 C
TUESDAY 0917 C
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THURSDAY 0919 C
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SUNDAY 0923 C
September 2013 MONDAY 0923 C
TUESDAY
0924 C
WEDNESDAY 0925 C
THURSDAY 0926 C
FRIDAY 0927 C
SATURDAY 0928 C
SUNDAY 0929 C
Adobe Garamond Pro
MONDAY 0930 C
ADOBE GARAMOND PRO 1989
An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon. Since its release in 1989, Adobe Garamond has become a typographic staple throughout the world of desktop typography and design. Adobe type designer Robert Slimbach has captured the beauty and balance of the original Garamond typefaces while creating a typeface family that offers all the advantages of a contemporary digital type family. With the introduction of OpenType font technology, Adobe Garamond has been reissued as a Pro type family that takes advantage of OpenType’s advanced typographic capabilities. Now this elegant type family can be used with even greater efficiency and precision in OpenType-savvy applications such as Adobe InDesign.
Slimbach Designed Typefaces:
ROBERT SLIMBACH See Page 9 (January)
Caflisch Script Cronos Adobe Garamond Adobe Jenson Kepler
Minion Myriad (with Carol Twombly) Poetica Sanvito Utopia
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October
October 2013 MONDAY
0930 C
TUESDAY 1001 C
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MONDAY
1007 C
TUESDAY 1008 C
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October 2013 MONDAY
1014 C
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MONDAY
1021 C
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THURSDAY 1024 C
FRIDAY 1025 C
SATURDAY 1026 C
SUNDAY 1027 C
October 2013 MONDAY
1028 C
TUESDAY 1029 C
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THURSDAY 1031 C
FRIDAY 1101 C
SATURDAY 1102 C
SUNDAY 1103 C
Franklin Gothic Book
FRANKLIN GOTHIC BOOK
1902
Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC. This version adheres closely to the subtle thick and thin pattern of the original design; the slightly enlarged x-height and condensed proportions of the new version result in greater economy of space. This typeface is a standard choice for use in newspapers and advertising. In 1991, David Berlow completed the family for ITC by creating compressed and condensed weights. ITC Franklin Gothic Compressed is designed especially to solve impossibly tight copyfitting problems, while maintaining high legibility standards. ITC Franklin Condensed provides medium weights of narrow proportions. It is frequently seen in newspapers, advertisements, posters, and anyplace with space restrictions.
Benton Designed Typefaces:
MORRIS FULLER BENTON
Century Schoolbook Franklin Gothic Book Broadway Bank Gothic
Century roman (with Theodor Low de Vinne) Bodoni News Gothic Souvenir
See Page 33 (April)
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November
November 2013 MONDAY
1028 C
TUESDAY
1029 C
WEDNESDAY
1030 C
THURSDAY
1031 C
FRIDAY
1101 C
SATURDAY
110 2 C
SUNDAY
1103 C
MONDAY 1104 C
TUESDAY 1105 C
WEDNESDAY 1106 C
THURSDAY 1107 C
FRIDAY 1108 C
SATURDAY 1109 C
SUNDAY 1110 C
November 2013 MONDAY 1111 C
TUESDAY 1112 C
WEDNESDAY 1113 C
THURSDAY 1114 C
FRIDAY 1115 C
SATURDAY 1116 C
SUNDAY 1117 C
MONDAY 1118 C
TUESDAY 1119 C
WEDNESDAY 1120 C
THURSDAY 1121 C
FRIDAY 112 2 C
SATURDAY 1123 C
SUNDAY 1124 C
November 2013 MONDAY 1125 C
TUESDAY 1126 C
WEDNESDAY 1127 C
THURSDAY 112 8 C
FRIDAY 1129 C
SATURDAY 1130 C
SUNDAY 1201 C
Gill Sans MT
GILL SANS MT
1930
Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it very legible and readable in text and display work. The condensed, bold, and display versions are excellent for packaging or posters.
“ The artist is not a different kind of person, but every person is a different kind of artist.” –Eric Gill ERIC GILL
See page 65 (August)
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December
December 2013 MONDAY
1125 C
TUESDAY
1126 C
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1127 C
THURSDAY
1128 C
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1129 C
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1130 C
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December 2013 MONDAY
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December 2013 MONDAY
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Bell MT
MONDAY
1230 C
TUESDAY
1231 C
BELL MT
1778
RICHARD AUSTIN 1768-1830
In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the French models and is now classified as Transitional. Essentially a text face, Bell can be used for books, magazines, long articles etc. Born in London, Richard Austin trained as a woodengraver with Thomas Bewick. In 1788 he joined the British Letter Foundry of publisher John Bell as a punch-cutter. Influenced by Bell’s enthusiasm for contemporary French types, Austin, a skillful cutter, produced a very sharply serifed letter which
Stanley Morison was to call the first English modern face. The type retains some old-style characteristics and should more properly be called a late transitional. Austin went on to cut true moderns and later, in 1819, after starting a foundry of his own, he outlined the dangers of such designs being taken to extremes.
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Monthly Color Guide JANUARY 2014
FEBRUARY 2014
monochromatic
triad: cool colors
C 75 M 72 Y 18 K 3
C 73 M 40 Y 19 K 1 C 77 M 64 Y 0 K 0 C 40 M 73 Y 0 K 0
APRIL 2014
MARCH 2014
analogous
cmyk
C 13 M 7 Y 84 K 0 C 66 M 23 Y 100 K 7 C 71 M 54 Y 76 K 60 C 96 M 62 Y 60 K 61
C 100 M 0 Y 0 K 0 C 0 M 100 Y 0 K 0 C 0 M 0 Y 100 K 0 C 0 M 0 Y 0 K 100
MAY 2014
JUNE 2014
black & white
adobe kuler palette: aurora borealis
C 0 M 0 Y 0 K 100 C 100 M 100 Y 100 K 0
C 50 M 0 Y 45 K 0 C 85 M 25 Y 88 K 12 C 64 M 10 Y 40 K 0 C 80 M 30 Y 37 K 3 C 100 M 85 Y 38 K 43
2014 Calendar AUGUST 2014
JULY 2014
triad: warm colors
monochromatic
C 16 M 71 Y 100 K 4 C 14 M 100 Y 96 K 5 C 13 M 7 Y 84 K 0
C 2 M 0 Y 0 K 30 C 4 M 1 Y 8 K 35 C 76 M 60 Y 37 K 35 C 76 M 66 Y 51 K 42 C 74 M 73 Y 60 K 82
OCTOBER 2014
SEPTEMBER 2014
rgb
neutral with accent color C 2 M 64 Y 100 K 0 C 49 M 64 Y 72 K 46
C 0 M 99 Y 100 K 0 C 63 M 0 Y 100 K 0 C 88 M 77 Y 0 K 0
NOVEMBER 2014
DECEMBER 2014
neutrals
complimentary
C 31 M 28 Y 37 K 30 C 32 M 35 Y 55 K 35 C 11 M 48 Y 37 K 35 C 53 M 71 Y 79 K 73 C 53 M 71 Y 79 K 43
C 2 M 53 Y 100 K 0 C 91 M 81 Y 0 K 0
DESIGN Samantha Mack
REFERENCES TYPEFACE HISTORIES adobe.com itcfonts.com (Helvetica Neue) ascenderfonts.com (Century Gothic) TYPEFACE DESIGNER BIOS An A-Z of Type Designers By Neil Macmillan DESIGNER PHOTOS Linotype Ascender Fonts (Bell) Identifont (Slimbach) TITLE PAGE IMAGES Photographer: Samantha Mack Knitting Specialists: Samantha Mack, Amanda Mack, Sharon Novy
INFLUENCES Thinking with Type by Ellen Lupton pantone.com