A WEAVE THROUGH TIME 2015 Typographic Calendar
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Bell MT
Richard Austin 1768–1830 GB Born
in
London,
Richard
Austin trained as a woodengraver with Thomas Bewick. In 1788 he joined the British
In 1931 Monotype made this
Letter Foundry of publisher
facsimile of the typeface cut
John Bell as a punch-cutter.
originally for John Bell by
Influenced by Bell’s enthusiasm
Richard Austin in 1788, using
for
French
as a basis the matrices in the
types, Austin, a skillful cutter,
possession of Stephenson Blake
produced a very sharply serifed
& Co. Used in Bell’s newspaper,
letter which Stanley Morison
“The Oracle,” it was regarded
was to call the first English
by Stanley Morison as the first
modern face. the type retains
English Modern face. Although
some old-style characteristics
inspired by French punchcutters
and should more properly be
of the time, with a vertical
called a late transitional. Austin
stress and fine hairlines, the face
went on to cut true moderns
is less severe than the French
and later, in 1819, after starting
models and is now classified as
a foundry of
his own, he
Transitional. Essentially a text
outlined the dangers of such
face, Bell can be used for books,
designs being taken to extremes.
magazines, long articles etc.
contemporary
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February 2015
Century Gothic Sol Hess 1886–1953 USA
For 50 Years Sol Hess was art director of Lanston Monotype Machinery
Co.,
succeeded
his
where
he and
Century Gothic Regular fonts
collaborator F W Goudy. He
maintains the basic design
started with the company
of 20th Century but has an
in
enlarged ‘x’ height and has been
1902
after
friend
a
threeat
modified to ensure satisfactory
Pennsylvania Museum School
output from modern digital
of Industrial Art, and as a type
systems. A design based on
designer
redrew
20th Century, which was drawn
their
by Sol Hess between 1936 and
typographical materials. His
1947. The Century Gothic Fonts
forte was the development of
Regular design is influenced
type families, and during his
by the geometric style sans
years with Lanston monotype
serif faces which were popular
he carried out commissions
during the 1920’s and 30’s.
for many leading American
Century Gothic Fonts Regular is
companies, including Curtis
useful for headlines and general
Publishing, Crowell-Collier, Sears
display work and for small
Roebuck, Montgomery Ward,
quantities of text, particularly
Yale University Press and World
in advertising.
year
and
scholarship
there
readapted
couse
he all
Publishing Company.
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Adobe Caslon Pro William Caslon 1692–1766 GB William Caslon I was the first British typefounder of any renown and was responsible for ending the
William Caslon released his first
dependence of British printers on
typefaces in 1722. Caslon’s types
imported Dutch types which (with
were based on seventeenth-century
some French types) had dominated
Dutch old style designs, which were
the market throughout the 17th
then used extensively in England.
century. Born in Worcestershire,
Because
William Caslon began his career in
practicality, Caslon’s designs met
London engraving and chasing gun
with instant success. Caslon’s types
barrels (occasionally also cutting
became popular throughout Europe
The OpenType Pro version merges
brass letters for bookbinders) until
and the American colonies; printer
formerly separate fonts (expert, etc.),
a printer called William Bowyer,
Benjamin Franklin hardly used any
and adds both central European
after seeing some of his letters,
other typeface. The first printings
language
encouraged him to try punch-
of the American Declaration of
additional ligatures. Ideally suited
cutting. Bowyer lent him €500 to
Independence and the Constitution
for text in sizes ranging from 6- to
start his own foundry, which he
were set in Caslon. For her Caslon
14-point, Adobe Caslon Pro is the
opened in London’s Vine Street
revival,
right choice for magazines, journals,
probably in 1722 or 1723. In 1734
studied specimen pages printed by
book
the foundry moved to Chiswell
William Caslon between 1734 and 1770.
communications.
of
their
designer
remarkable
Carol Twombly
support
publishing,
and
and
several
corporate
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
Declaration of Independence.
the
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Helvetica Neue Max Miedlinger 1910-1980 CH
Max Miedinger, born in Zurich, was an in-house designer
The first one is the original
with the Haas foundry in
Although designed for the home
design, which was created by
Munchenstein,
Switzerland.
market, the then-called Neue
Max Miedinger and released by
His most famous typeface is
Haas Grotesk proved popluar
Linotype in 1957. And secondly,
Helvetica, currently one of the
farther afield. When Stempel
in 1983, D. Stempel AG, Linotype’s
most widely used sans serifs,
AG in Germany released the
daughter
which was designed in 1956.
face in 1961 they called it
the Neue Helvetica® design,
Edward Hoffman of Haas had
Helvetica, the traditional Latin
which was a re-working of the
asked Miedinger to adapt
name for Switzerland, in order
1957 original. The outcome
the existing Haas Grotesk to
to capitalize on the fashion for
was a synthesis of aesthetic
bring it in line with current
Swiss typography. Additional
and technical refinements and
taste. Haas Grotesk had its
weights were added to the
modifications that resulted in
origins in the 19th-century
Helvetica family over the years.
improved appearance, legibility
German
grotesques
like
In 1983 Linotype released a
and usefulness.
Berthold’s
Akzidenz-Grotesk.
new, more extensive version,
The type, which was created
Neue Helvetica, in 51 weights.
from
china-ink
The history of Helvetica includes
drawings, seemed like a new
a number of twists and turns.
design in its own right, rather
There are, in fact, two versions
than an old one with minor
of Helvetica.
Miedinger’s
retouching as had been the original plan.
company,
released
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Minion Pro
Robert Slimbach b. 1956 USA Robert Slimbach, who was Illinois,
Minion Pro is an Adobe Original
received his training and early
typeface designed by Robert
experience of type design in
Slimbach.
the drawing office of Autologic
of Minion was released in
The full Minion Pro family
in California. In 1987, after
1990. Cyrillic additions were
contains three weights and two
two years of self-employment,
released in 1992, and finally
widths, each with optical size
which saw him contribute ITC
the
version
variants, and each supporting a
Slimbach and ITC Giovanni
was released in 2000. Minion
full range of Western languages,
to the International Typeface
Pro is inspired by classical,
including Greek and Cyrillic.
Corporation, he joined Adobe
old style typefaces of the
With its many ligatures, small
Systems.
he
late Renaissance, a period of
caps, oldstyle figures, swashes,
and
elegant, beautiful, and highly
and other added glyphs, Minion
developing typefaces for the
readable type designs. Minion
Pro is ideal for uses ranging
Adobe
program.
Pro combines the aesthetic and
from limited-edition books to
Slimbach’s typefaces offer type
functional qualities that make
newsletters to packaging.
users a rich palette of designs,
text type highly readable with
mostly for text use, based on
the versatility of OpenType
his enthusiasm for classic letter
digital
forms. In 1999 he received the
unprecedented flexibility and
Prix Charles Peignot from the
typographic control, whether
Association
for lengthy text or display
born
Sunday
has
in
Evanston,
Since
been
then,
designing
Originals
Typographique
The
OpenType
first
Pro
technology,
version
yielding
Internationale for excellence in
settings.
type design.
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Myriad Pro
Carol Twombly & Robert Slimbach b. 1956 USA
Carol Twombly studied design at the Rhode Island School of
An Adobe Originals design
Design, where she became
first released in 1992, Myriad
interested in type design and
has become popular for both
typography. She received an
text and display composition.
Myriad Pro’s clean open shapes,
MS from Stanford University
As
release,
precise letter fit, and extensive
in the graduate programme
Myriad Pro expands this sans
kerning pairs make this unified
of digital typography under
serif family to include Greek
family of roman and italic
Charles Bigelow, and later
and Cyrillic glyphs, as well as
an excellent choice for text
joined the Bigelow & Holmes
adding oldstyle figures and
typography that is comfortable
Studio. In the Morisawa Typeface
improving support for Latin-
to read, while the wide variety
Design Competition in 1984
based languages. The full Myriad
of weights and widths in the
she won first prize for Mirarae,
Pro family includes condensed,
family
a latin design which has since
normal, and extended widths
creative palette for even the most
been licensed and released.
in a full range of weights.
demanding display typography.
A member of the Adobe type
Designed by Robert Slimbach &
studio since 1988, Twombly
Carol Twombly with Fred Brady
has designed many successful
& Christopher Slye, Myriad has
display and text typefaces for
a warmth and readability that
the Adobe Originals library. In
result from the humanistic
1994 she was the first woman
treatment of letter proportions
to receive from ATypI the Prix
and design detail.
Charles Peignot for outstanding
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contributions to type design.
an
OpenType
provide
a
generous
Robert Slimbach see month of May
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Adobe Garamond
Claude Garamond & Robert Slimbach b. 1480-1561 FR A native of Paris, Garamond was an engraver and letter founder of high repute. He was regarded as the best typecutter of his day. He was commissioned by King Francis First of France to make a new cast of type for his own exclusive use, now known as Grecs du Roi. Garamond was the first to produce a reworking of the earlier typefaces of Aldus Manutius, creating a face called Garamond. This small roman type became the standard European type of the day and was still in use in the 18th century. During most of the 20th century, most leading foundries around the world have redrawn their own versions of Garamond’s typeface, and Garamond’s roman is still regarded today as one of the classic typefaces.
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 see month of May
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Gill Sans MT Eric Gill
1882–1940 GB Arthur Eric Rowton Gill, lettercutter, sculptor, wood-engraver
Sunday
Monday
and type designer, was one
Gill designed his first typeface at
of the most prominent and
the invitation of Stanley Morison
controversial figures of his day.
of the Monotype Corporation.
Designed
by
Eric
Gill
Born in Brighton, Gill studied
The drawings for the type,
released
by
the
Monotype
at Chichester School of Art
Perpetua, were begun in 1925.
Corporation
before being apprenticed to
Gill Sans, designed during the
and 1930, Gill Sans is based on
an
ecclesiastical
between
and 1928
architect
same period, was based on the
the typeface Edward Johnston,
in London. Whilst there he
same sources as the Johnston
the innovative British letterer
attended the classes of the
Sans Serif. Gill had painted san-
and teacher, designed in 1916
calligrapher Edward Johnston at
serif lettering on the Douglas
for the signage of the London
the Central School of Arts and
Cleverdon’s Bristol Bookshop
Underground.
Crafts. Thus he became involved
in 1927 and it was this that
is more classical in proportion
in the small world of scribes and
suggested the idea of a Gill sans
and
illuminators and the Arts and
serif to Morison. Joanna was cut
flared capital R and eyeglass
Crafts Movement, embarking on
by the Caslon foundry; one of its
lowercase g. With distinct roots
a career as a stone cutter and
first uses in 1931 was for Gill’s
in pen-written letters, Gill Sans
letterer.
own Essay on Typography. These
is classified as a humanist sans
three typefaces are from his
serif, making it very legible and
most creative period.
readable in text and display
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contains
Gill’s his
alphabet signature
work. The condensed, bold, and display versions are excellent for packaging or posters.
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Goudy Old Style Frederic Goudy b. 1865-1947 USA
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.
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 diamondshaped 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.
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Franklin Gothic Morris Benton b. 1872-1948 USA
Morris Fuller Benton is accredited with being the most prolific type designer in American history,
Franklin Gothic, one of the most
with an output twice as great as
popular sans serif types ever
that of Frederic Goudy (although
produced,
in fairness Goudy did not start
Morris Fuller Benton in 1902
completed
his career until a later age). A
for American Type Founders. In
ITC by creating compressed
factor in his relative anonymity
1979, under license with ATF,
and condensed weights. ITC
was his position as an in-house
Vic Caruso began work on more
Franklin Gothic Compressed
designer, but in a position that
weights of the design for ITC.
is designed especially to solve
suited his retiring character:
This version adheres closely to
impossibly
when pressed he would put his
the subtle thick and thin pattern
problems, while maintaining
successes down to ‘Lady Luck’.
of the original design; the slightly
high legibility standards. ITC
Benton has been credited with
enlarged x-height and condensed
Franklin Condensed provides
inventing the concept of the type
proportions of the new version
medium weights of narrow
family and although this is not
result in greater economy of
proportions. It is frequently seen
the case he did do his best work
space. This typeface is a standard
in newspapers, advertisements,
expanding faces into families
choice for use in newspapers
posters, and anyplace with
and adapting existing type styles
and advertising.
space restrictions.
for ATF. Between 1900 and 1928 he designed 18 variations on Century, including the popular Century Schoolbook.
was
designed
by
In
1991,
David the
tight
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Berlow
family
for
copyfitting
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Perpetua
Eric Gill b. 1882-1940 GB Arthur
Eric
Rowton
Gill,
letter-cutter, sculptor, wood-
Type designer Eric Gill’s most
engraver and type designer, was
popular Roman typeface is Perpetua,
one of the most prominent and
The drawings for the type,
which was released by the Monotype
controversial figures of his day.
Perpetua, were begun in 1925. Gill
Corporation between 1925 and
Born in Brighton, Gill studied
Sans, designed during the same
1932. It first appeared in a limited
at Chichester School of Art
period, was based on the same
edition of the book The Passion of
before being apprenticed to an
sources as the Johnston Sans Serif.
Perpetua and Felicity, for which
ecclesiastical architect in London.
Gill had painted san-serif lettering
the typeface was named. The italic
Whilst there he attended the
on the Douglas Cleverdon’s Bristol
form was originally called Felicity.
classes of the calligrapher Edward
Bookshop in 1927 and it was this
Perpetua’s clean chiseled look recalls
Johnston at the Central School of
that suggested the idea of a Gill
Gill’s stonecutting work and makes
Arts and Crafts. Thus he became
sans serif to Morison. Joanna was
it an excellent text typeface, giving
involved in the small world of
cut by the Caslon foundry; one of
sparkle to long passages of text; the
scribes and illuminators and
its first uses in 1931 was for Gill’s
Perpetua capitals have beautiful,
the Arts and Crafts Movement,
own Essay on Typography. These
classical lines that make this one of
embarking on a career as a stone
three typefaces are from his most
the finest display alphabets available.
cutter and letterer. Gill designed
creative period.
his first typeface at the invitation
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of Stanley Morison of the Monotype Corporation.
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Century Schoolbook Morris Benton b. 1872-1948 USA
Morris
Fuller
accredited
with
Benton being
is the
most prolific type designer
Another version of the Century
in American history, with an
family was produced when
output twice as great as that
Ginn & Company, a textbook
of Frederic Goudy (although
publisher,
in fairness Goudy did not
American
start his career until a later
to design a typeface with
age). A factor in his relative
maximum
anonymity was his position
Benton researched the subjects
as an in-house designer, but
of eyesight and legibility, then
in a position that suited his
created Century Schoolbook,
retiring
which was released between
character:
when
commissioned Type
Founders
legibility.
Morris
pressed he would put his
1918
successes down to ‘Lady Luck’.
Schoolbook is still seen in
Benton has been credited with
elementary school texts, and
inventing the concept of the
can be used for text work
type family and although this
where legibility is a primary
is not the case he did do his
consideration.
and
1921.
Century
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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DESIGN Brianna Sohrweide
TYPEFACE HISTORIES adobe.com itcfonts.com (Helvetica Neue) ascenderfonts.com (Century Gothic)
DESIGNER PHOTOS Linotype Ascender Fonts (Bell) Identifont (Slimbach)
TYPEFACE DESIGNER BIOS An A-Z of Type Designers By Neil Macmillan
INFLUENCES
Thinking withType by Ellen Lupton
TITLE PAGE IMAGES Brianna Sohrweide