Page 1


2019 A Typographic Calendar


January


SUNDAY

30

ND MO AY

31

TUESDAY

1

DNESDAY WE

2

RSDAY THU

3

FRIDAY

4

RD SATU AY

5

JANUARY


SUNDAY

6

NDAY MO

7

TUESDAY

8

WE

DNESDAY

9

RSDAY THU

10

FRIDAY

11

RD SATU AY

12

2019


SUNDAY

13

ND MO AY

14

TUESDAY

15

DNESDAY WE

16

RSDAY THU

17

FRIDAY

18

RD SATU AY

19

JANUARY


SUNDAY

20

NDAY MO

21

TUESDAY

22

WE

DNESDAY

23

RSDAY THU

24

FRIDAY

25

RD SATU AY

26

2019


SUNDAY

27

ND MO AY

28

TUESDAY

29

DNESDAY WE

30

RSDAY THU

31

FRIDAY

1

RD SATU AY

2

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JANUARY


Bell MT

Designer: Richard Austin (1768–1830)

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.

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

2019

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.


February


SUNDAY

27

ND MO AY

28

TUESDAY

29

DNESDAY WE

30

RSDAY THU

31

FRIDAY

1

RD SATU AY

2

FEBRUARY


SUNDAY

3

NDAY MO

4

TUESDAY

5

WE

DNESDAY

6

RSDAY THU

7

FRIDAY

8

RD SATU AY

9

2019


SUNDAY

10

ND MO AY

11

TUESDAY

12

DNESDAY WE

13

RSDAY THU

14

FRIDAY

15

RD SATU AY

16

FEBRUARY


SUNDAY

17

NDAY MO

18

TUESDAY

19

WE

DNESDAY

20

RSDAY THU

21

FRIDAY

22

RD SATU AY

23

2019


SUNDAY

24

ND MO AY

25

TUESDAY

26

DNESDAY WE

27

RSDAY THU

28

FRIDAY

1

RD SATU AY

2

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FEBRUARY


Franklin Gothic

Designer: Morris Fuller Benton (1872–1948)

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’. 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.

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

2019

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.


March


SUNDAY

24

ND MO AY

25

TUESDAY

26

DNESDAY WE

27

RSDAY THU

28

FRIDAY

1

RD SATU AY

2

MARCH


SUNDAY

3

NDAY MO

4

TUESDAY

5

WE

DNESDAY

6

RSDAY THU

7

FRIDAY

8

RD SATU AY

9

2019


SUNDAY

10

ND MO AY

11

TUESDAY

12

DNESDAY WE

13

RSDAY THU

14

FRIDAY

15

RD SATU AY

16

MARCH


SUNDAY

17

NDAY MO

18

TUESDAY

W

19

EDNESDAY

20

RSDAY THU

21

FRIDAY

22

RD SATU AY

23

2019


SUNDAY

24

ND MO AY

25

TUESDAY

26

DNESDAY WE

27

RSDAY THU

28

FRIDAY

29

RD SATU AY

30

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MARCH


Adobe Caslon Pro) Designer: William Caslon (1692–1766 SUNDAY

31

William Caslon I 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 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

2019

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.


April


SUNDAY

31

ND MO AY

1

TUESDAY

2

DNESDAY WE

3

RSDAY THU

4

FRIDAY

5

RD SATU AY

6

APRIL


SUNDAY

7

NDAY MO

8

TUESDAY

9

WE

DNESDAY

10

RSDAY THU

11

FRIDAY

12

RD SATU AY

13

2019


SUNDAY

14

ND MO AY

15

TUESDAY

16

DNESDAY WE

17

RSDAY THU

18

FRIDAY

19

RD SATU AY

20

APRIL


SUNDAY

21

NDAY MO

22

TUESDAY

W

23

EDNESDAY

24

RSDAY THU

25

FRIDAY

26

RD SATU AY

27

2019


SUNDAY

28

ND MO AY

29

TUESDAY

30

DNESDAY WE

1

RSDAY THU

2

FRIDAY

3

RD SATU AY

4

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APRIL


Gill Sans MT Designer: Eric Gill (1882–1940)

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. 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.

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

2019

serif, making it very legible and readable in text and display work. The condensed, bold, and display versions are excellent for packaging or posters.


May


SUNDAY

28

ND MO AY

29

TUESDAY

30

DNESDAY WE

1

RSDAY THU

2

FRIDAY

3

RD SATU AY

4

MAY


SUNDAY

5

NDAY MO

6

TUESDAY

7

WE

DNESDAY

8

RSDAY THU

9

FRIDAY

10

RD SATU AY

11

2019


SUNDAY

12

ND MO AY

13

TUESDAY

14

DNESDAY WE

15

RSDAY THU

16

FRIDAY

17

RD SATU AY

18

MAY


SUNDAY

19

NDAY MO

20

TUESDAY

21

WE

DNESDAY

22

RSDAY THU

23

FRIDAY

24

RD SATU AY

25

2019


SUNDAY

26

ND MO AY

27

TUESDAY

28

DNESDAY WE

29

RSDAY THU

30

FRIDAY

31

RD SATU AY

1

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MAY


Adobe Garamond Pro Designer: Robert Slimbach (1956-)

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. 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.

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

2019

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.


June


SUNDAY

26

ND MO AY

27

TUESDAY

28

DNESDAY WE

29

RSDAY THU

30

FRIDAY

31

RD SATU AY

1

JUNE


SUNDAY

2

NDAY MO

3

TUESDAY

4

WE

DNESDAY

5

RSDAY THU

6

FRIDAY

7

RD SATU AY

8

2019


SUNDAY

9

ND MO AY

10

TUESDAY

11

DNESDAY WE

12

RSDAY THU

13

FRIDAY

14

RD SATU AY

15

JUNE


SUNDAY

16

NDAY MO

17

TUESDAY

W

18

EDNESDAY

19

RSDAY THU

20

FRIDAY

21

RD SATU AY

22

2019


SUNDAY

23

ND MO AY

24

TUESDAY

25

DNESDAY WE

26

RSDAY THU

27

FRIDAY

28

RD SATU AY

29

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JUNE


Myriad Pro

Designers: Carol Twombly (1959-) and Robert Slimbach (1956-) SUNDAY

30

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.

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

2019

& 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.


July


SUNDAY

30

ND MO AY

1

TUESDAY

2

DNESDAY WE

3

RSDAY THU

4

FRIDAY

5

RD SATU AY

6

JULY


SUNDAY

7

NDAY MO

8

TUESDAY

9

WE

DNESDAY

10

RSDAY THU

11

FRIDAY

12

RD SATU AY

13

2019


SUNDAY

14

ND MO AY

15

TUESDAY

16

DNESDAY WE

17

RSDAY THU

18

FRIDAY

19

RD SATU AY

20

JULY


SUNDAY

21

NDAY MO

22

TUESDAY

W

23

EDNESDAY

24

RSDAY THU

25

FRIDAY

26

RD SATU AY

27

2019


SUNDAY

28

ND MO AY

29

TUESDAY

30

DNESDAY WE

31

RSDAY THU

1

FRIDAY

2

RD SATU AY

3

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JULY


Goudy Oldstyle

Designer: Frederic W. Goudy (1865–1947)

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

2019

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.


August


SUNDAY

28

ND MO AY

29

TUESDAY

30

DNESDAY WE

31

RSDAY THU

1

FRIDAY

2

RD SATU AY

3

AUGUST


SUNDAY

4

NDAY MO

5

TUESDAY

6

WE

DNESDAY

7

RSDAY THU

8

FRIDAY

9

RD SATU AY

10

2019


SUNDAY

11

ND MO AY

12

TUESDAY

13

DNESDAY WE

14

RSDAY THU

15

FRIDAY

16

RD SATU AY

17

AUGUST


SUNDAY

18

NDAY MO

19

TUESDAY

W

20

EDNESDAY

21

RSDAY THU

22

FRIDAY

23

RD SATU AY

24

2019


SUNDAY

25

ND MO AY

26

TUESDAY

27

DNESDAY WE

28

RSDAY THU

29

FRIDAY

30

RD SATU AY

31

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AUGUST


Helvetica

Designer: Max Miedinger (1910–1980)

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.

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

2019

technical refinements and modifications that resulted in improved appearance, legibility and usefulness.


September


SUNDAY

1

ND MO AY

2

TUESDAY

3

DNESDAY WE

4

RSDAY THU

5

FRIDAY

6

RD SATU AY

7

SEPTEMBER


SUNDAY

8

NDAY MO

9

TUESDAY

10

WE

DNESDAY

11

RSDAY THU

12

FRIDAY

13

RD SATU AY

14

2019


SUNDAY

15

ND MO AY

16

TUESDAY

17

DNESDAY WE

18

RSDAY THU

19

FRIDAY

20

RD SATU AY

21

SEPTEMBER


SUNDAY

22

NDAY MO

23

TUESDAY

W

24

EDNESDAY

25

RSDAY THU

26

FRIDAY

27

RD SATU AY

28

2019


SUNDAY

29

ND MO AY

30

TUESDAY

1

DNESDAY WE

2

RSDAY THU

3

FRIDAY

4

RD SATU AY

5

SEPTEMBER


Minion Pro

Designer: Robert Slimbach (1956-)

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. 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.

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.

2019

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October


SUNDAY

29

ND MO AY

30

TUESDAY

1

DNESDAY WE

2

RSDAY THU

3

FRIDAY

4

RD SATU AY

5

OCTOBER


SUNDAY

6

NDAY MO

7

TUESDAY

8

WE

DNESDAY

9

RSDAY THU

10

FRIDAY

11

RD SATU AY

12

2019


SUNDAY

13

ND MO AY

14

TUESDAY

15

DNESDAY WE

16

RSDAY THU

17

FRIDAY

18

RD SATU AY

19

OCTOBER


SUNDAY

20

NDAY MO

21

TUESDAY

W

22

EDNESDAY

23

RSDAY THU

24

FRIDAY

25

RD SATU AY

26

2019


SUNDAY

27

ND MO AY

28

TUESDAY

29

DNESDAY WE

30

RSDAY THU

31

FRIDAY

1

RD SATU AY

2

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OCTOBER


Century Gothic Designer: Sol Hess (1886–1953)

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.

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

2019

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.


November


SUNDAY

27

ND MO AY

28

TUESDAY

29

DNESDAY WE

30

RSDAY THU

31

FRIDAY

1

RD SATU AY

2

NOVEMBER


SUNDAY

3

NDAY MO

4

TUESDAY

5

WE

DNESDAY

6

RSDAY THU

7

FRIDAY

8

RD SATU AY

9

2019


SUNDAY

10

ND MO AY

11

TUESDAY

12

DNESDAY WE

13

RSDAY THU

14

FRIDAY

15

RD SATU AY

16

NOVEMBER


SUNDAY

17

NDAY MO

18

TUESDAY

W

19

EDNESDAY

20

RSDAY THU

21

FRIDAY

22

RD SATU AY

23

2019


SUNDAY

24

ND MO AY

25

TUESDAY

26

DNESDAY WE

27

RSDAY THU

28

FRIDAY

29

RD SATU AY

30

NOVEMBER


Perpetua

Designer: Eric Gill (1882–1940)

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.

Arthur Eric Rowton Gill, LetterCutter, 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.

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2019


December


SUNDAY

1

ND MO AY

2

TUESDAY

3

DNESDAY WE

4

RSDAY THU

5

FRIDAY

6

RD SATU AY

7

DECEMBER


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Century Schoolbook

Designer: Morris Fuller Benton (1872–1948)

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 inhouse 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.

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.

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Coach Wooden’s Starting 5 One of the best basketball players in the country.

Offered a spot on the Boston Celtics, but declined the offer because he wanted to teach.

When reporters would ask what his secret was to winning games, he would answer that he just made sure his pkayer’s shoes were tied properly.

He abandoned the idea of beating other teams and worked instead to get the players to improve themselves.

Out of the 29 years of him coaching at the University of California at Los Angeles, Coach Wooden had all winning records except one that included 10 NCAA titles.


REFERENCES TYPEFACE HISTORIES adobe.com itcfonts.com (Helvetica Neue) ascenderfonts.com (Century Gothic)

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

DESIGN

Terrel Morgan

TITLE PAGE IMAGES

Terrel Morgan

INFLUENCES Thinking withType by Ellen Lupton TYPEFACE DESIGNER BIOS An A-Z of Type Designers By Neil Macmillan


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