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Ty p o g r a p h i c C a l e n d a r

2013

2013

Ty p o g r a p h i c C a l e n d a r

2013

JA N UA RY

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Bell MT “Find out what the next thing is that you can push, that you can invent, that you can be ignorant about, that you can be arrogant about, that you can fail with, and that you can be a fool with. Because in the end, that’s how you grow.”

Designer: Richard Austin 1768–1830 GB

— Paula Scher

Richard Austin

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 wood-engraver 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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Century Gothic Designer: Sol Hess b. 1956 USA “You can have an art experience in front of a Rembrandt… or in front of a piece of graphic design.”

— Stefan Sagmeister

Sol Hess

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., For 50 Years Sol Hess was art director of Lanston Monotype Machinery Co., where he succeeded his friend and collaborator F W Goudy. He started with the company in 1902 after a three-year scholarship course 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.

MARCH

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Adobe Garamond Pro “Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.”

Designer: Original: Claude Garamon Revival: Robert Slimbach b. 1956 USA

— Paul Rand

Robert Slimbach

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.

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 an incredible 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.

APRIL

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Myriad Pro “A designer knows they have achieved perfection not when there is nothing left to add, but when there is nothing left

Designers: Carol Twombly, b. 1959 USA and Robert Slimbach (See May)

to take away.”

— Antoine de Saint Exupéry

Carol Twombly

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.

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.

M AY

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Minion Pro Designer: Robert Slimbach “Design is not the narrow application of formal skills, it is a

b. 1956 USA

way of thinking.”

— Chris Pullman

In The Making

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.

JUNE

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Franklin Gothic Designer: Morris Benton “The design process, at its best, integrates the aspirations

1872–1948 USA

of art, science, and culture.”

— Jeff Smith

Morris Benton

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.

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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Kepler STD “Typographical design should perform optically what the speaker creates through voice and gesture of his thoughts.”

Designer: Robert Slimbach b. 1956 USA

— El Lizzitsky

Robert Slimbach

Named after the German Renaissance astronomer, Kepler is a contemporary type family created by Adobe type designer Robert Slimbach in the tradition of classic modern 18th-century typefaces. Traditionally, modern typefaces are known for their cool intellectual quality, but Slimbach’s Kepler captures the modern style in a humanistic manner. It is elegant and refined with a hint of oldstyle proportion and calligraphic detailing that lends it warmth and energy.

At the risk of embarrassing Robert, it’s fair to say he’s one of the greatest living type designers. His typefaces are almost unfailingly humanistic, but usually lost underneath the virtuosity of his design is a foundation of technical precision and ambition, and a concern for practical and lasting usability. Through these qualities, Robert has often led the way for Adobe’s various typographic innovations — from multiple masters, to the embrace of optical sizes and non-Latin

scripts, and the advanced capabilities of the OpenType format. Robert has accumulated awards and accolades for his work, including the Prix Charles Peignot in 1991, and numerous Type Directors Club awards. In 2006, Robert became Adobe’s first Principal Designer — a title he probably earned in spirit long before that.

AUGUST

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Perpetua “Type is a beautiful group of letters, not a group of beautiful letters.”

Designer: Eric Gill 1882–1940 GB

— Matthew Carter

Eric Gill

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, letter-cutter, 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 first uses in 1931 was for Gill’s own Essay on Typography. These three typefaces are from his most creative period.

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Gill Sans MT Designer: Eric Gill 1882–1940 GB

Eric Gill

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.

Gill was born in Brighton, the son of non-conformist minister. While apprenticed to an architect in London, he became smitten with the world of calligraphy, which he entered by attending classes given by Edward Johnston. He was profoundly influenced by Johnston’s dedicated approach to work and decided to join the world of the Arts and Crafts.

During his lifetime he set up three selfsufficient religious communities where, surrounded by his retinue, he worked as sculptor, wood-engraver, and type designer. He converted to Catholicism in 1913 and this influenced his sculpture

and writings. He designed his first typeface, Perpetua, for Stanley Morison who had badgered him for years on this matter. Of all the 11 typefaces that he designed, Gill Sans is his most famous; it is a clear modern type and became the letter of the railways - appearing on their signs, engine plates, and timetables.

OCTOBER

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Goudy Old Style STD Designer: Frederic Goudy 1865–1947 USA “Anyone who would letterspace black letter would steal sheep.”

— Frederick Goudy

Frederic W. Goudy

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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Adobe Caslon Pro

Designer: Original: William Caslon “Typography needs to be audible. Typography needs to be felt.

Typography needs to be experienced.”

1692–1766 GB

Revival: Carol Twombly (See April)

— Helmut Schmid

William Caslon

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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Helvetica LT STD Designer: Original: Max Miedinger 1910–1980 CH Revival: D. Stempel AG

Max Miedinger

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 had its origins in the 19th-century German grotesques like Berthold’s Akzidenz-Grotesk. The type, which was created from Miedinger’s chinaink 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 then-called 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.

London Transit History & Facts The iconic red double-deckers of the United Kingdom hit the suburban and urban streets beginning in 1956.

Standard double-decker buses seat up to 70 people and can accommodate as many as 90.

Within Greater London, the bus network was supportd by tram and trolleybus systems. Trams were withdrawn in 1952 and the trolleybuses a decade later. Buses replaced both services.

Approximately 7,500 red double-decker buses carry more than six million passengers each weekday on a network serving all parts of Greater London.

Commercial buses—drawn by horses and called “Omnibuses”—were first widely introduced in the 1820s in England and France.

The red double-decker buses in London have become a national symbol of Britain.

© Molly Wallis

Double-decker buses can be traced to 18th and 19th century horse-drawn coachesm in which passengers frequently sat on top of the coaches while traveling through the city or from village to village.

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Design Jenny Musilek

Influences Thinking with Type

by Ellen Lupton

Title Page Images Jenny Musilek

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)