Sohrweide Calendar

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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March 2015 Monday Sunday

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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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May 2015 Thursday

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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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June 2015 Thursday

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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