Page 1

in one year

> RESOLUTIONS

2012 > out the other


in one year

{ 2012 } RESOLUTIONS

Devin Miller

out the other


J


JA N UA RY

SUN 1

MON 2

TUES 3

WED 4

THURS 5

FRI 6

SAT 7


SAT 14

SUN 8

MON 9

TUES 10

WED 11

THURS 12

FRI 13


JA N UA RY

SUN 15

MON 16

TUES 17

WED 18

THURS 19

FRI 20

SAT 21


SAT 28

SUN 22

MON 23

TUES 24

WED 25

THURS 26

FRI 27


JA N UA RY

SUN 29

MON 30

TUES 31

WED 1

THURS 2

FRI 3

SAT 4


BELL MT Richard Austin 1768–1830

In 1931 Monotype made this facsimile of the

Born in London, Richard Austin trained

typeface cut originally for John Bell by Richard

as a wood-engraver with Thomas Bewick.

Austin in 1788, using as a basis the matrices

In 1788 he joined the British Letter Foundry of publisher John Bell as a

in the possession of Stephenson Blake & Co.

punch-cutter. Influenced by Bell’s

Used in Bell’s newspaper, “The Oracle,” it was

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

regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress

some old-style characteristics and

and fine hairlines, the face is less severe than the

should more properly be called a late

French models and is now classified as Transitional.

transitional. Austin went on to cut

Essentially a text face, Bell can be used for books,

true moderns and later, in 1819, after starting a foundry of his own,

magazines, long articles etc.

he outlined the dangers of such designs being taken to extremes.

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F


FEB RUA RY

SUN 29

SAT 3

MON 30

TUES 31

WED 1

THURS 2

FRI 3


SUN 5

SAT 11

MON 6

TUES 7

WED 8

THURS 9

FRI 10


FEB RUA RY

SUN 12

SAT 18

MON 13

TUES 14

WED 15

THURS 16

FRI 17


SUN 19

SAT 25

MON 20

TUES 21

WED 22

THURS 23

FRI 24


FEB RUA RY

SUN 26

SAT 3

MON 27

TUES 28

WED 29

THURS 1

FRI 2


ADOBE CASLON PRO William Caslon (1692–1766) Carol Twombly (1959–)

William Caslon released his first typefaces in 1722. Caslon’s

Born in London, Richard Austin trained

designs, which were then used extensively in England.

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.

types were based on seventeenth-century Dutch old style

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.

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M


SAT 3

MARCH

SUN 26

MON 27

TUES 28

WED 29

THURS 1

FRI 2


SUN 4

SAT 10

MON 5

TUES 6

WED 7

THURS 8

FRI 9


SUN 11

MARCH

SAT 17

MON 12

TUES 13

WED 14

THURS 15

FRI 16


SUN 18

SAT 24

MON 19

TUES 20

WED 21

THURS 22

FRI 23


SUN 25

MARCH

SAT 31

MON 26

TUES 27

WED 28

THURS 29

FRI 30


GILL SANS Eric Gill (1882–1940)

Designed by Eric Gill and released by the Monotype Corporation

Arthur Eric Rowton Gill, letter-cutter,

between 1928 and 1930, Gill Sans is based on the typeface

sculptor, wood-engraver and type

Edward Johnston, the innovative British letterer and teacher,

designer, was one of the most

designed in 1916 for the signage of the London Underground.

prominent and controversial figures of his day. Born in Brighton, Gill studied at Chichester School of

Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct

Art before being apprenticed to an

roots in pen-written letters, Gill Sans is classified as a humanist

ecclesiastical architect in London.

sans serif, making it very legible and readable in text and display

Whilst there he attended the classes

work. The condensed, bold, and display versions are excellent

of the calligrapher Edward Johnston

for packaging or posters.

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

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A


SUN 1

APRIL

SAT 7

MON 2

TUES 3

WED 4

THURS 5

FRI 6


SUN 8

SAT 14

MON 9

TUES 10

WED 11

THURS 12

FRI 13


SUN 15

APRIL

SAT 21

MON 16

TUES 17

WED 18

THURS 19

FRI 20


SUN 22

SAT 28

MON 23

TUES 24

WED 25

THURS 26

FRI 27


SUN 29

APRIL

SAT 5

MON 30

TUES 1

WED 2

THURS 3

FRI 4


GOUDY OLD STYLE Frederic W. Goudy (1865–1947)

William Caslon released his first typefaces in 1722. Caslon’s

Frederic Goudy, one of the best-known

types were based on seventeenth-century Dutch old style

and most prolific of type designers,

designs, which were then used extensively in England.

designed, by his own reckoning, 123

Because of their remarkable practicality, Caslon’s designs

faces. Born in Bloomington, Illinois, he worked in various cities before founding

met with instant success. Caslon’s types became popular

the Booklet Press in Chicago in 1895

throughout Europe and the American colonies; printer

with equipment bought from Will Bradley.

Benjamin Franklin hardly used any other typeface. The first

The sale of a set of capitals of his own

printings of the American Declaration of Independence and

design to the Bruce Type Foundry, Boston, encouraged him to become

the Constitution were set in Caslon. For her Caslon revival,

a freelance lettering artist. Goudy’s

designer Carol Twombly studied specimen pages printed

breakthrough with type design came in

by William Caslon between 1734 and 1770. The OpenType

1911. He designed Kennerley Old Style

Pro version merges formerly separate fonts (expert, etc.),

for the publishers Mitchell Kennerley on the understanding that he could sell it

and adds both central European language support and

to the trade. He set up the Village Letter

several additional ligatures. Ideally suited for text in

Foundry to cast and sell Kennerley and a

sizes ranging from 6- to 14-point, Adobe Caslon Pro is the

titling font, Forum. These established his

right choice for magazines, journals, book publishing,

reputation, and American Type Founders

and corporate communications.

commissioned Goudy Old Style, regarded as one of his finest designs.

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M


SAT 5

M AY

SUN 29

MON 30

TUES 1

WED 2

THURS 3

FRI 4


SUN 6

SAT 12

MON 7

TUES 8

WED 9

THURS 10

FRI 11


SAT 19

M AY

SUN 13

MON 14

TUES 15

WED 16

THURS 17

FRI 18


SUN 20

SAT 26

MON 21

TUES 22

WED 23

THURS 24

FRI 25


SAT 2

M AY

SUN 27

MON 28

TUES 29

WED 30

THURS 31

FRI 1


MINION PRO Robert Slimbach (1956)

Minion Pro is an Adobe Original typeface designed by Robert

Robert Slimbach, who was born in

Slimbach. The first version of Minion was released in 1990.

Evanston, Illinois, received his training

Cyrillic additions were released in 1992, and finally the OpenType

and early experience of type design in the drawing office of Autologic in California.

Pro version was released in 2000. Minion Pro is inspired by

In 1987, after two years of self-

classical, old style typefaces of the late Renaissance, a period of

employment, which saw him contribute

elegant, beautiful, and highly readable type designs. Minion Pro

ITC Slimbach and ITC Giovanni to the

combines the aesthetic and functional qualities that make text

International Typeface Corporation, he

type highly readable with the versatility of OpenType digital

joined Adobe Systems. Continued, see September

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.

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J


SAT 2

JUNE

SUN 27

MON 28

TUES 29

WED 30

THURS 31

FRI 1


SUN 3

SAT 9

MON 4

TUES 5

WED 6

THURS 7

FRI 8


SAT 16

JUNE

SUN 10

MON 11

TUES 12

WED 13

THURS 14

FRI 15


SUN 17

SAT 23

MON 18

TUES 19

WED 20

THURS 21

FRI 22


SAT 30

JUNE

SUN 24

MON 25

TUES 26

WED 27

THURS 28

FRI 29


HELVETICA NEUE Max Miedinger (1910–1980)

The history of Helvetica includes a number of twists and turns. There are,

Max Miedinger, born in Zurich, was an

in fact, two versions of Helvetica. The first one is the original design,

in-house designer with the Haas foundry in

which was created by Max Miedinger and released by Linotype in 1957.

Munchenstein, Switzerland. His most famous typeface is Helvetica, currently one of the most widely used sans serifs, which was

And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® design, which was a re-working of the

designed in 1956. Edward Hoffman of Haas

1957 original. The outcome was a synthesis of aesthetic and technical

had asked Miedinger to adapt the existing

refinements and modifications that resulted in improved appearance,

Haas Grotesk to bring it in line with current taste. Haas Grotesk had its origins in the 19th-

legibility and usefulness.

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 thencalled 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.

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J


SUN 1

J U LY

SAT 7

MON 2

TUES 3

WED 4

THURS 5

FRI 6


SAT 14

SUN 8

MON 9

TUES 10

WED 11

THURS 12

FRI 13


SUN 15

J U LY

SAT 21

MON 16

TUES 17

WED 18

THURS 19

FRI 20


SAT 28

SUN 22

MON 23

TUES 24

WED 25

THURS 26

FRI 27


SUN 29

J U LY

SAT 4

MON 30

TUES 31

WED 1

THURS 2

FRI 3


PERPETUA Eric Gill (1882–1940)

Type designer Eric Gill’s most popular Roman typeface is

Continued from March

Perpetua, which was released by the Monotype Corporation

Gill designed his first typeface at the

between 1925 and 1932. It first appeared in a limited edition of

invitation of Stanley Morison of the

the book The Passion of Perpetua and Felicity, for which the

Monotype Corporation. The drawings for the type, Perpetua, were begun in 1925.

typeface was named. The italic form was originally called Felicity.

Gill Sans, designed during the same period,

Perpetua’s clean chiseled look recalls Gill’s stonecutting work and

was based on the same sources as the Johnston

makes it an excellent text typeface, giving sparkle to long passages

Sans Serif. Gill had painted san-serif lettering

of text; the Perpetua capitals have beautiful, classical lines that

on the Douglas Cleverdon’s Bristol Bookshop in 1927 and it was this that suggested the idea

make this one of the finest display alphabets available.

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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A


SUN 29

AU G U S T

SAT 4

MON 30

TUES 31

WED 1

THURS 2

FRI 3


SUN 5

SAT 11

MON 6

TUES 7

WED 8

THURS 9

FRI 10


SUN 12

AU G U S T

SAT 18

MON 13

TUES 14

WED 15

THURS 16

FRI 17


SUN 19

SAT 25

MON 20

TUES 21

WED 22

THURS 23

FRI 24


SUN 26

AU G U S T

SAT 1

MON 27

TUES 28

WED 29

THURS 30

FRI 31


FRANKLIN GOTHIC Morris Fuller Benton 1872–1948

Franklin Gothic, one of the most popular sans serif types

Morris Fuller Benton is accredited with being

ever produced, was designed by Morris Fuller Benton in

the most prolific type designer in American

1902 for American Type Founders. In 1979, under license

history, with an output twice as great as that of Frederic Goudy (although in fairness

with ATF, Vic Caruso began work on more weights of the

Goudy did not start his career until a later

design for ITC. This version adheres closely to the subtle

age). A factor in his relative anonymity was

thick and thin pattern of the original design; the slightly

his position as an in-house designer, but in a position that suited his retiring character:

enlarged x-height and condensed proportions of the new

when pressed he would put his successes

version result in greater economy of space. This typeface is

down to ‘Lady Luck’.

a standard choice for use in newspapers and advertising. In

Continued, see November

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.

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S


SEPTEMBER

SUN 26

MON 27

TUES 28

WED 29

THURS 30

FRI 31

SAT 1


SAT 8

SUN 2

MON 3

TUES 4

WED 5

THURS 6

FRI 7


SEPTEMBER

SUN 9

MON 10

TUES 11

WED 12

THURS 13

FRI 14

SAT 15


SAT 22

SUN 16

MON 17

TUES 18

WED 19

THURS 20

FRI 21


SEPTEMBER

SUN 23/30

MON 24

TUES 25

WED 26

THURS 27

FRI 28

SAT 29


ADOBE GARAMOND Claude Garamond Robert Slimbach

An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the

Continued from May

roman types of Claude Garamond and the italic types of

Since then, he has been designing and

Robert Granjon. Since its release in 1989, Adobe Garamond

developing typefaces for the Adobe Originals program. Slimbach’s typefaces offer type users

has become a typographic staple throughout the world of

a rich palette of designs, mostly for text use,

desktop typography and design. Adobe type designer Robert

based on his enthusiasm for classic letter

Slimbach has captured the beauty and balance of the original

forms. In 1999 he received the Prix Charles Peignot from the Association Typographique Internationale for excellence in type design.

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.

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O


SAT 6

O C TO B E R

SUN 30

MON 1

TUES 2

WED 3

THURS 4

FRI 5


SUN 7

SAT 13

MON 8

TUES 9

WED 10

THURS 11

FRI 12


SAT 20

O C TO B E R

SUN 14

MON 15

TUES 16

WED 17

THURS 18

FRI 19


SUN 21

SAT 27

MON 22

TUES 23

WED 24

THURS 25

FRI 26


SAT 3

O C TO B E R

SUN 28

MON 29

TUES 30

WED 31

THURS 1

FRI 2


MYRIAD PRO Robert Slimbach Carol Twombly

An Adobe Originals design first released in 1992, Myriad has

Carol Twombly studied design at the

OpenType release, Myriad Pro expands this sans serif family

Rhode Island School of Design, where

to include Greek and Cyrillic glyphs, as well as adding oldstyle

she became interested in type design and typography. She received an MS

become popular for both text and display composition. As an

figures and improving support for Latin-based languages.

from Stanford University in the graduate

The full Myriad Pro family includes condensed, normal, and

programme of digital typography

extended widths in a full range of weights. Designed by Robert

under Charles Bigelow, and later joined the Bigelow & Holmes Studio.

Slimbach & Carol Twombly with Fred Brady & Christopher

In the Morisawa Typeface Design

Slye, Myriad has a warmth and readability that result from the

Competition in 1984 she won first

humanistic treatment of letter proportions and design detail.

prize for Mirarae, a Latin design which has since been licensed and released.

Myriad Pro’s clean open shapes, precise letter fit, and extensive

A member of the Adobe type studio

kerning pairs make this unified family of roman and italic

since 1988, Twombly has designed

an excellent choice for text typography that is comfortable

many successful display and text

to read, while the wide variety of weights and widths in the

typefaces for the Adobe Originals library. In 1994 she was the first woman to

family provide a generous creative palette for even the most

receive from ATypI the Prix Charles

demanding display typography.

Peignot for outstanding contributions to type design.

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N


NOVEMBER

SUN 28

MON 29

TUES 30

WED 31

THURS 1

FRI 2

SAT 3


SUN 4

SAT 10

MON 5

TUES 6

WED 7

THURS 8

FRI 9


NOVEMBER

SUN 11

MON 12

TUES 13

WED 14

THURS 15

FRI 16

SAT 17


SUN 18

SAT 24

MON 19

TUES 20

WED 21

THURS 22

FRI 23


NOVEMBER

SUN 25

MON 26

TUES 27

WED 28

THURS 29

FRI 30

SAT 1


CENTURY SCHOOLBOOK Morris Fuller Benton 1872–1948

Another version of the Century family was produced when

Continued from August

Ginn & Company, a textbook publisher, commissioned

Benton has been credited with inventing

American Type Founders to design a typeface with

the concept of the type family and

maximum legibility. Morris Benton researched the

although this is not the case he did do his best work expanding faces into families

subjects of eyesight and legibility, then created Century

and adapting existing type styles for

Schoolbook, which was released between 1918 and 1921.

ATF. Between 1900 and 1928 he designed

Century Schoolbook is still seen in elementary school

18 variations on Century, including the

texts, and can be used for text work where legibility is

popular Century Schoolbook.

a primary consideration.

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D


DECEMBER

SUN 25

SAT 1

MON 26

TUES 27

WED 28

THURS 29

FRI 30


SUN 2

SAT 8

MON 3

TUES 4

WED 5

THURS 6

FRI 7


DECEMBER

SUN 9

SAT 15

MON 10

TUES 11

WED 12

THURS 13

FRI 14


SUN 16

SAT 22

MON 17

TUES 18

WED 19

THURS 20

FRI 21


DECEMBER

SUN 23/30

MON 24/31

TUES 25

WED 26

THURS 27

FRI 28

SAT 29


CENTURY GOTHIC Sol Hess 1886–1953

Century Gothic Regular fonts maintains the basic design of

For 50 Years Sol Hess was art director

20th Century but has an enlarged ‘x’ height and has been

of Lanston Monotype Machinery Co.,

modified to ensure satisfactory output from modern digital

where he succeeded his friend and collaborator F W Goudy. He started

systems. A design based on 20th Century, which was drawn

with the company in 1902 after a three-

by Sol Hess between 1936 and 1947. The Century Gothic

year scholarship course at Pennsylvania

Fonts Regular design is influenced by the geometric style

Museum School of Industrial Art, and as a type designer there he redrew and

sans serif faces which were popular during the 1920’s and

readapted all their typographical ma-

30’s. Century Gothic Fonts Regular is useful for headlines

terials. His forte was the development

and general display work and for small quantities of text,

of type families, and during his years with Lanston monotype he carried

particularly in advertising.

out commissions for many leading American companies, including Curtis Publishing, Crowell-Collier, Sears Roebuck, Montgomery Ward, Yale University Press and World Publishing Company.

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J

F

M

A

M

J

J

A

S

O

N

D


2012

RESOLUTIONS 2013

JANUARY FEBRUARY MARCH APRIL MAY

I will drink less. I will quit smoking. I will eat healthier. I will spend less money. I will cook more.

JUNE

I will stop spoiling my pet.

JULY

I will conserve

AUGUST SEPTEMBER OCTOBER

I will take more vacations. I will drop my bad habit. I will be less forgetful.

NOVEMBER

I will get a better education.

DECEMBER

I will get tight and toned.


REFERENCES DESIGN Devin Miller TITLE PAGE IMAGES Devin Miller INFLUENCES Thinking withType

TYPEFACE HISTORIES adobe.com itcfonts.com (Helvetica Neue) ascenderfonts.com (Century Gothic) TYPEFACE DESIGNER BIOS An A-Z of Type Designers By Neil Macmillan

by Ellen Lupton

DESIGNER PHOTOS Linotype Ascender Fonts (Bell) Identifont (Slimbach)


Resolutions 2012: In one year, out the other  

Typographical Calendar

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