resolutions 2012: in one year, out the other
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in one year
out the other
2012RESOLUTIONS>
>
in one year out the other
Devin Miller
{ }2012RESOLUTIONS
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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.
BE
LL
MT
Richard Austin 1768–1830
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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.
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.
AD
OB
E
CA
SLO
N P
RO
William Caslon (1692–1766) Carol Twombly (1959–)
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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.
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.
Continued, see July
GIL
L SA
NS
Eric Gill (1882–1940)
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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.
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.
GO
UD
Y
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TY
LE
Frederic W. Goudy (1865–1947)
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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.
Continued, see September
MIN
ION
PR
O
Robert Slimbach (1956)
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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 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.
HE
LVE
TIC
A
NE
UE
Max Miedinger (1910–1980)
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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.
Continued from March
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.
PER
PET
UA
Eric Gill (1882–1940)
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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’.
Continued, see November
FRA
NK
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G
OTH
IC
Morris Fuller Benton 1872–1948
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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.
Continued from May
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.
AD
OB
EG
AR
AM
ON
D
Claude Garamond Robert Slimbach
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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.
MYR
IAD
PRO
Robert Slimbach Carol Twombly
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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.
Continued from August
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 1872–1948
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CEN
TUR
YG
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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
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 ma-
terials. 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 1886–1953
J
A
F M
M
J
O N D
A S
J
JANUARY
FEBRUARY
MARCH
APRIL
MAY
JUNE
JULY
AUGUST
SEPTEMBER
OCTOBER
NOVEMBER
DECEMBER
RESOLUTIONS
2013I will drink less.
I will quit smoking.
I will eat healthier.
I will spend less money.
I will cook more.
I will stop spoiling my pet.
I will conserve
I will take more vacations.
I will drop my bad habit.
I will be less forgetful.
I will get a better education.
I will get tight and toned.
2012
DESIGN
Devin Miller
TITLE PAGE IMAGES
Devin Miller
INFLUENCES
Thinking withType
by Ellen Lupton
RE
FE
RE
NC
ES
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)
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