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2012 Typographic Calendar
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T Y P E12 20C A L E N D A R
NAJ 1 2
0M2
0M9
0 T 3
1 T 0
0W4
1W1
0 T 5
1T 2
0F6
1 F 3
0 S 7
1 S 4
0 S 8
1 S 5JA
NU
AR
Y2
01
2
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.
Robert Slimbach
1M6
2M3
1 T 7
2 T 4
1W8
2W5
1 T 9
2T 6
2F0
2 F 7
2 S 1
2 S 8
2 S 2
2 S 9JA
NU
AR
Y2
01
2
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.
MINION PRO
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3M03 T 1
JA
NU
AR
Y2
01
2
F E B1 2
0M6
0 T 7
0W1
0W8
0 T 2
0T9
0F3
1 F 0
0 S 4
1 S 1
0 S 5
1 S 2
FE
BR
UA
RY
20
12
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.
Richard Austin
FE
BR
UA
RY
20
12
1M3
2M0
1 T 4
2 T 1
1W5
2W2
1 T 6
2T3
1F7
2 F 4
1 S 8
2 S 5
1 S 9
2 S 6
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.
B E L L M T
0 1 2 3 4 5 6 7 8 9A B C D E F G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z
FE
BR
UA
RY
20
12
2M72 T 8
2W9
RAM 1 2
MA
RC
H2
01
2
0M5
0 T 60W7
0 T 1
0T8
0F2
0 F 9
0 S 3
1 S 0
0 S 4
1 S 1
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.
William Caslon
MA
RC
H2
01
21M2
1M9
1 T 3
2 T 0
1W4
2W1
1 T 5
2T2
1F6
2 F 3
1 S 7
2 S 4
1 S 8
2 S 5
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.
ADOBE CASLON PRO
0 1 2 3 4 5 6 7 8 9A B C D EF G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z
MA
RC
H2
01
22M62 T 7
2W82 T 9
3F03 S 1
RPA 1 2
AP
RI
L0
12
2
0M2
0 T 30W4
0T50F6
0 S 7
0 S 1
0 S 8
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.
Morris Fuller Benton
AP
RI
L0
12
20M9
1M6
1 T 0
1 T 7
1W1
1W8
1 T 2
1T9
1 F 3
2F0
1 S 4
2 S 1
1 S 5
2 S 2
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.
F R A N K L I NG O T H I C
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AP
RI
L0
12
22M3
3M0
2 T 4
2W52 T 6
2 F 72 S 8
2 S 9
AM Y1 2
01
22 M
AY
0M7
0T 1
0T 8
0W2
0W9
0T 3
1T0
0F 4
1F1
0S 5
1S 2
0 S 6
1S 3
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 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 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.
Max Miedinger
01
22 M
AY
1M 4
2M1
1T 5
2T 2
1W6
2W3
1T 7
2T4
1F 8
2F5
1S 9
2S 6
2 S 0
2S 7
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. 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.
HELVETICA
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01
22 M
AY
2M 82 T 9
3W03T 1
J U N1 2
20
12
0M4
0 T 50W6
0T 7
0F 1
0F 8
0S 2
0S 9
0 S 3
1 S 0
JU
NE
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 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.
Sol Hess
20
12
JU
NE
1M1
1M8
1T 2
1 T 9
1W3
2W0
1T 4
2T 1
1F 5
2F 2
1S 6
2S 3
1 S 7
2 S 4
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.
C E N T U R YG O T H I C
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20
12
JU
NE
2M52 T 6
2W72 T 8
2F 93S 0
0 S 1
J U L1 2
20
12
0M2
0M9
0 T 3
1 T 0
0W4
1W1
0 T 5
1T2
0F6
1 F 3
0 S 7
1 S 4
0 S 8
1 S 5
JU
LY
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.
Frederic Goudy
20
12
JU
LY
1M6
2M3
1 T 7
2 T 4
1W8
2W5
1 T 9
2T6
2 F 0
2 F 7
2 S 1
2 S 8
2 S 2
2 S 9
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.
G O U D YO L D S T Y L E
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20
12
JU
LY
3M03 T 1
A U G1 2
AU
GU
ST
20
21 0M6
0 T 7
0W1
0W8
0T 2
0T9
0F 3
1 F 0
0S 4
1S 1
0 S 5
1S 2
an arthur,
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.
Eric Rowton Gill
20
21
AU
GU
ST
1M 3
2M0
1 T 4
2 T 1
1W5
2W2
1 T 6
2T3
1F 7
2 F 4
1S 8
2S 5
1 S 9
2 S 6
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 distinctroots 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 SANS MT
0 1 2 3 4 5 6 7 8 9A B C D E F G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z
20
21
AU
GU
ST
2M 72 T 8
2W93 T 0
3F 1
PES 1 2
SE
PT
EM
BE
R2
10
2
0M3
0T 40W5
0T60F 7
0S 1
0S 8
0 S 2
0S 9
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.
Morris Fuller Benton
SE
PT
EM
BE
R2
10
21M0
1M7
1T 1
1T 8
1W2
1W9
1T 3
2T0
1F4
2F 1
1S 5
2S 2
1 S 6
2S 3
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.
CENTURYSCHOOLBOOK
0 1 2 3 4 5 6 7 8 9ABCDEFGHIJKLMNOPQRSTUVWYZa b c d e f g h i j k l m n o p q r s t u v w y z
SE
PT
EM
BE
R2
10
22M42T 5
2W62T 7
2F82S 9
3 S 0
TCO 1 2
OC
TO
BE
R2
01
20M1
0M8
0 T 2
0 T 9
0W3
1W0
0 T 4
1T 1
0F 5
1 F 2
0 S 6
1 S 3
0 S 7
1 S 4
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.
Carol Twombly
OC
TO
BE
R2
01
21M5
2M2
1 T 6
2 T 3
1W7
2W4
1 T 8
2T 5
1F9
2 F 6
2 S 0
2 S 7
2 S 1
2 S 8
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.
MYRIAD PRO
0 1 2 3 4 5 6 7 8 9A B C D E F G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z
OC
TO
BE
R2
01
22M93 T 0
3W1
N O V1 2
NO
VE
MB
ER
20
12
0M5
0 T 60W7
0 T 1
0T 8
0F2
0 F 9
0 S 3
1 S 0
0 S 4
1 S 1
an arthur,
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.
Eric Rowton Gill
NO
VE
MB
ER
20
12
1M2
1M9
1 T 3
2 T 0
1W4
2W1
1 T 5
2T 2
1 F 6
2 F 3
1 S 7
2 S 4
1 S 8
2 S 5
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.
P E R P E T U A
0 1 2 3 4 5 6 7 8 9A B C D E F G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z
NO
VE
MB
ER
20
12
2M62 T 7
2W82 T 9
3 F 0
D E C1 2
DE
CE
MB
ER
22
01 0M3
0 T 40W5
0T60 F 7
0 S 1
0 S 8
0 S 2
0 S 9
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.
Robert Slimbach
DE
CE
MB
ER
22
01
1M0
1M7
1 T 1
1 T 8
1W2
1W9
1 T 3
2T0
1F4
2 F 1
1 S 5
2 S 2
1 S 6
2 S 3
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.
A D O B E G A R A M O N D P RO
0 1 2 3 4 5 6 7 8 9A B C D E F G H I J K L M N O P Q R S T U V W Y Za b c d e f g h i j k l m n o p q r s t u v w y z
DE
CE
MB
ER
22
01
2M4
3M1
2 T 5
2W62 T 7
2F82 S 9
3 S 0
DESIGNElle Benway
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 PHOTOSLinotype
Ascender Fonts (Bell) Identifont
(Slimbach)
TITLE PAGE IMAGES
Elle Benway
INFLUENCESThinking with Type
by Ellen Lupton
References