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TYPOGRAPHIC CALENDAR THE YARN BOMBING SERIES

YARNTONE


YARNTONE

TYPOGRAPHIC CALENDAR 2013


January


January 2013 MONDAY 1231 C

TUESDAY 0101 C

WEDNESDAY 0102 C

THURSDAY 0103 C

FRIDAY 0104 C

SATURDAY 0105 C

SUNDAY 0106 C


MONDAY 0107 C

TUESDAY 0108 C

WEDNESDAY 0109 C

THURSDAY 0110 C

FRIDAY 0111 C

SATURDAY 0112 C

SUNDAY 0113 C


January 2013 MONDAY 0114 C

TUESDAY 0115 C

WEDNESDAY 0116 C

THURSDAY 0117 C

FRIDAY 0118 C

SATURDAY 0119 C

SUNDAY 0120 C


MONDAY 0121 C

TUESDAY 0122 C

WEDNESDAY 0123 C

THURSDAY 0124 C

FRIDAY 0125 C

SATURDAY 0126 C

SUNDAY 0127 C


MONDAY 0128 C

TUESDAY 0129 C

WEDNESDAY 0130 C

THURSDAY 0131 C

FRIDAY 0201 C

SATURDAY 0202 C

SUNDAY 0203 C


Minion Pro

MINION PRO 1990

ROBERT SLIMBACH 1956–present

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. 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.

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February


February 2013 MONDAY 0128 C

TUESDAY 0129 C

WEDNESDAY 0130 C

THURSDAY 0131 C

FRIDAY 0201 C

SATURDAY 0202 C

SUNDAY 0203 C


MONDAY 0204 C

TUESDAY 0205 C

WEDNESDAY 0206 C

THURSDAY 0207 C

FRIDAY 0208 C

SATURDAY 0209 C

SUNDAY 0210 C


February 2013 MONDAY 0211 C

TUESDAY 0212 C

WEDNESDAY 0213 C

THURSDAY 0214 C

FRIDAY 0215 C

SATURDAY 0216 C

SUNDAY 0217 C


MONDAY 0218 C

TUESDAY 0219 C

WEDNESDAY 0220 C

THURSDAY 0221 C

FRIDAY 0222 C

SATURDAY 0223 C

SUNDAY 0224 C


February 2013 MONDAY 0225 C

TUESDAY 0226 C

WEDNESDAY 0227 C

THURSDAY 0228 C

FRIDAY 0301 C

SATURDAY 0302 C

SUNDAY 0303 C


Helvetica Neue

HELVETICA NEUE 1983

MAX MIEDINGER 1910–1980

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 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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March


March 2013 MONDAY 0225 C

TUESDAY 0226 C

WEDNESDAY 0227 C

THURSDAY 0228 C

FRIDAY 0301 C

SATURDAY 0302 C

SUNDAY 0303 C


MONDAY 0304 C

TUESDAY 0305 C

WEDNESDAY 0306 C

THURSDAY 0307 C

FRIDAY 0308 C

SATURDAY 0309 C

SUNDAY 0310 C


March 2013 MONDAY 0311 C

TUESDAY 0312 C

WEDNESDAY 0313 C

THURSDAY 0314 C

FRIDAY 0315 C

SATURDAY 0316 C

SUNDAY 0317 C


MONDAY 0318 C

TUESDAY 0319 C

WEDNESDAY 0320 C

THURSDAY 0321 C

FRIDAY 0322 C

SATURDAY 0323 C

SUNDAY 0324 C


March 2013 MONDAY 0325 C

TUESDAY 0326 C

WEDNESDAY 0327 C

THURSDAY 0328 C

FRIDAY 0329 C

SATURDAY 0330 C

SUNDAY 0331 C


Adobe Caslon Pro

ADOBE CASLON PRO 1772

CAROL TWOMBLY See page 41 (May)

WILLIAM CASLON 1692–1766

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.

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.

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April


April 2013 MONDAY 0401 C

TUESDAY 0402 C

WEDNESDAY 0403 C

THURSDAY 0404 C

FRIDAY 0405 C

SATURDAY 0406 C

SUNDAY 0407 C


MONDAY 0408 C

TUESDAY 0409 C

WEDNESDAY 0410 C

THURSDAY 0411 C

FRIDAY 0412 C

SATURDAY 0413 C

SUNDAY 0414 C


April 2013 MONDAY 0415 C

TUESDAY 0416 C

WEDNESDAY 0417 C

THURSDAY 0418 C

FRIDAY 0419 C

SATURDAY 0420 C

SUNDAY 0421 C


MONDAY 0422 C

TUESDAY 0423 C

WEDNESDAY 0424 C

THURSDAY 0425 C

FRIDAY 0426 C

SATURDAY 0427 C

SUNDAY 0428 C


April 2013 MONDAY 0429 C

TUESDAY 0430 C

WEDNESDAY 0417 C

THURSDAY 0501 C

FRIDAY 0502 C

SATURDAY 0503 C

SUNDAY 0504 C


Century Schoolbook

CENTURY SCHOOLBOOK

1918

MORRIS FULLER BENTON

1872–1948

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.

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.

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May


May 2013 MONDAY

0429 C

TUESDAY

0430 C

WEDNESDAY

0501 C

THURSDAY

0502 C

FRIDAY

0503 C

SATURDAY

0504 C

SUNDAY

0505 C


MONDAY

0506 C

TUESDAY

0507 C

WEDNESDAY

0508 C

THURSDAY

0509 C

FRIDAY

0510 C

SATURDAY

0511 C

SUNDAY

0512 C


May 2013 MONDAY

0513 C

TUESDAY

0514 C

WEDNESDAY

0515 C

THURSDAY

0516 C

FRIDAY

0517 C

SATURDAY

0518 C

SUNDAY

0519 C


MONDAY

0520 C

TUESDAY

0521 C

WEDNESDAY

0522 C

THURSDAY

0523 C

FRIDAY

0524 C

SATURDAY

0525 C

SUNDAY

0526 C


May 2013 MONDAY

0527 C

TUESDAY

0528 C

WEDNESDAY

0529 C

THURSDAY

0530 C

FRIDAY

0531 C

SATURDAY

0601 C

SUNDAY

0602 C


Myriad Pro

MYRIAD PRO

1992

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.

ROBERT SLIMBACH

See page 9 (January)

CAROL TWOMBLY

1959 – present

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.

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June


June 2013 MONDAY 0527 C

TUESDAY 0528 C

WEDNESDAY 0529 C

THURSDAY 0530 C

FRIDAY 0531 C

SATURDAY 0601 C

SUNDAY 0602 C


MONDAY 0603 C

TUESDAY 0604 C

WEDNESDAY 0605 C

THURSDAY 0606 C

FRIDAY 0607 C

SATURDAY 0608 C

SUNDAY 0609 C


June 2013 MONDAY 0610 C

TUESDAY 0611 C

WEDNESDAY 0612 C

THURSDAY 0613 C

FRIDAY 0614 C

SATURDAY 0615 C

SUNDAY 0616 C


MONDAY 0617 C

TUESDAY 0618 C

WEDNESDAY 0619 C

THURSDAY 0620 C

FRIDAY 0621 C

SATURDAY 0622 C

SUNDAY 0623 C


June 2013 MONDAY 0624 C

TUESDAY 0625 C

WEDNESDAY 0626 C

THURSDAY 0627 C

FRIDAY 0628 C

SATURDAY 0629 C

SUNDAY 0630 C


Goudy Old Style

GOUDY OLD STYLE

1915

FREDERIC W. GOUDY

1865-1947

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. 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.

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July


July 2013 MONDAY 0701 C

TUESDAY 0702 C

WEDNESDAY 0703 C

THURSDAY 0704 C

FRIDAY 0705 C

SATURDAY 0706 C

SUNDAY 0707 C


MONDAY 0708 C

TUESDAY 0709 C

WEDNESDAY 0710 C

THURSDAY 0711 C

FRIDAY 0712 C

SATURDAY 0713 C

SUNDAY 0714 C


July 2013 MONDAY 0715 C

TUESDAY 0716 C

WEDNESDAY 0717 C

THURSDAY 0718 C

FRIDAY 0719 C

SATURDAY 0720 C

SUNDAY 0721 C


MONDAY 0722 C

TUESDAY 0723 C

WEDNESDAY 0724 C

THURSDAY 0725 C

FRIDAY 0726 C

SATURDAY 0727 C

SUNDAY 0728 C


July 2013 MONDAY 0729 C

TUESDAY 0730 C

WEDNESDAY 0731 C

THURSDAY 0801 C

FRIDAY 0802 C

SATURDAY 0803 C

SUNDAY 0804 C


Century Gothic

CENTURY GOTHIC

1947

SOL HESS

1886-1953

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 c oll abo rato r 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.

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August


August 2013 MONDAY 0729 C

TUESDAY 0730 C

WEDNESDAY 0731 C

THURSDAY 0801 C

FRIDAY 0802 C

SATURDAY 0803 C

SUNDAY 0804 C


MONDAY 0805 C

TUESDAY 0806 C

WEDNESDAY 0807 C

THURSDAY 0808 C

FRIDAY 0809 C

SATURDAY 0810 C

SUNDAY 0811 C


August 2013 MONDAY 0812 C

TUESDAY 0813 C

WEDNESDAY 0814 C

THURSDAY 0815 C

FRIDAY 0816 C

SATURDAY 0817 C

SUNDAY 0818 C


MONDAY 0819 C

TUESDAY 0820 C

WEDNESDAY 0821 C

THURSDAY 0822 C

FRIDAY 0823 C

SATURDAY 0824 C

SUNDAY 0825 C


August 2013 MONDAY 0826 C

TUESDAY 0827 C

WEDNESDAY 0828 C

THURSDAY 0829 C

FRIDAY 0830 C

SATURDAY 0831 C

SUNDAY 0901 C


Perpetua

PERPETUA 1932

ERIC GILL 1872–1948

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 own Essay on Typography. These three typefaces are from his most creative period.

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September


September 2013 MONDAY 0826 C

TUESDAY

0827 C

WEDNESDAY 0828 C

THURSDAY 0829 C

FRIDAY 0830 C

SATURDAY 0831 C

SUNDAY 0901 C


MONDAY 0902 C

TUESDAY 0903 C

WEDNESDAY 0904 C

THURSDAY 0905 C

FRIDAY 0906 C

SATURDAY 0907 C

SUNDAY 0908 C


September 2013 MONDAY 0909 C

TUESDAY

0910 C

WEDNESDAY 0911 C

THURSDAY 0912 C

FRIDAY 0913 C

SATURDAY 0914 C

SUNDAY 0915 C


MONDAY 0916 C

TUESDAY 0917 C

WEDNESDAY 0918 C

THURSDAY 0919 C

FRIDAY 0921 C

SATURDAY 0922 C

SUNDAY 0923 C


September 2013 MONDAY 0923 C

TUESDAY

0924 C

WEDNESDAY 0925 C

THURSDAY 0926 C

FRIDAY 0927 C

SATURDAY 0928 C

SUNDAY 0929 C


Adobe Garamond Pro

MONDAY 0930 C

ADOBE GARAMOND PRO 1989

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.

Slimbach Designed Typefaces:

ROBERT SLIMBACH See Page 9 (January)

Caflisch Script Cronos Adobe Garamond Adobe Jenson Kepler

Minion Myriad (with Carol Twombly) Poetica Sanvito Utopia

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October


October 2013 MONDAY

0930 C

TUESDAY 1001 C

WEDNESDAY 1002 C

THURSDAY 1003 C

FRIDAY 1004 C

SATURDAY 1005 C

SUNDAY 1006 C


MONDAY

1007 C

TUESDAY 1008 C

WEDNESDAY 1009 C

THURSDAY 1010 C

FRIDAY 1011 C

SATURDAY 1012 C

SUNDAY 1013 C


October 2013 MONDAY

1014 C

TUESDAY 1015 C

WEDNESDAY 1016 C

THURSDAY 1017 C

FRIDAY 1018 C

SATURDAY 1019 C

SUNDAY 1020 C


MONDAY

1021 C

TUESDAY 1022 C

WEDNESDAY 1023 C

THURSDAY 1024 C

FRIDAY 1025 C

SATURDAY 1026 C

SUNDAY 1027 C


October 2013 MONDAY

1028 C

TUESDAY 1029 C

WEDNESDAY 1030 C

THURSDAY 1031 C

FRIDAY 1101 C

SATURDAY 1102 C

SUNDAY 1103 C


Franklin Gothic Book

FRANKLIN GOTHIC BOOK

1902

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.

Benton Designed Typefaces:

MORRIS FULLER BENTON

Century Schoolbook Franklin Gothic Book Broadway Bank Gothic

Century roman (with Theodor Low de Vinne) Bodoni News Gothic Souvenir

See Page 33 (April)

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November


November 2013 MONDAY

1028 C

TUESDAY

1029 C

WEDNESDAY

1030 C

THURSDAY

1031 C

FRIDAY

1101 C

SATURDAY

110 2 C

SUNDAY

1103 C


MONDAY 1104 C

TUESDAY 1105 C

WEDNESDAY 1106 C

THURSDAY 1107 C

FRIDAY 1108 C

SATURDAY 1109 C

SUNDAY 1110 C


November 2013 MONDAY 1111 C

TUESDAY 1112 C

WEDNESDAY 1113 C

THURSDAY 1114 C

FRIDAY 1115 C

SATURDAY 1116 C

SUNDAY 1117 C


MONDAY 1118 C

TUESDAY 1119 C

WEDNESDAY 1120 C

THURSDAY 1121 C

FRIDAY 112 2 C

SATURDAY 1123 C

SUNDAY 1124 C


November 2013 MONDAY 1125 C

TUESDAY 1126 C

WEDNESDAY 1127 C

THURSDAY 112 8 C

FRIDAY 1129 C

SATURDAY 1130 C

SUNDAY 1201 C


Gill Sans MT

GILL SANS MT

1930

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.

“ The artist is not a different kind of person, but every person is a different kind of artist.” –Eric Gill ERIC GILL

See page 65 (August)

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December


December 2013 MONDAY

1125 C

TUESDAY

1126 C

WEDNESDAY

1127 C

THURSDAY

1128 C

FRIDAY

1129 C

SATURDAY

1130 C

SUNDAY

1201 C


MONDAY

1202 C

TUESDAY

1203 C

WEDNESDAY

1204 C

THURSDAY

1205 C

FRIDAY

1206 C

SATURDAY

1207 C

SUNDAY

1208 C


December 2013 MONDAY

1209 C

TUESDAY

1210 C

WEDNESDAY

1211 C

THURSDAY

1212 C

FRIDAY

1213 C

SATURDAY

1214 C

SUNDAY

1215 C


MONDAY

1216 C

TUESDAY

1217 C

WEDNESDAY

1218 C

THURSDAY

1219 C

FRIDAY

1220 C

SATURDAY

1221 C

SUNDAY

1222 C


December 2013 MONDAY

1223 C

TUESDAY

1224 C

WEDNESDAY

1225 C

THURSDAY

1226 C

FRIDAY

1227 C

SATURDAY

1228 C

SUNDAY

1229 C


Bell MT

MONDAY

1230 C

TUESDAY

1231 C

BELL MT

1778

RICHARD AUSTIN 1768-1830

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 woodengraver 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.

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Monthly Color Guide JANUARY 2014

FEBRUARY 2014

monochromatic

triad: cool colors

C 75 M 72 Y 18 K 3

C 73 M 40 Y 19 K 1 C 77 M 64 Y 0 K 0 C 40 M 73 Y 0 K 0

APRIL 2014

MARCH 2014

analogous

cmyk

C 13 M 7 Y 84 K 0 C 66 M 23 Y 100 K 7 C 71 M 54 Y 76 K 60 C 96 M 62 Y 60 K 61

C 100 M 0 Y 0 K 0 C 0 M 100 Y 0 K 0 C 0 M 0 Y 100 K 0 C 0 M 0 Y 0 K 100

MAY 2014

JUNE 2014

black & white

adobe kuler palette: aurora borealis

C 0 M 0 Y 0 K 100 C 100 M 100 Y 100 K 0

C 50 M 0 Y 45 K 0 C 85 M 25 Y 88 K 12 C 64 M 10 Y 40 K 0 C 80 M 30 Y 37 K 3 C 100 M 85 Y 38 K 43


2014 Calendar AUGUST 2014

JULY 2014

triad: warm colors

monochromatic

C 16 M 71 Y 100 K 4 C 14 M 100 Y 96 K 5 C 13 M 7 Y 84 K 0

C 2 M 0 Y 0 K 30 C 4 M 1 Y 8 K 35 C 76 M 60 Y 37 K 35 C 76 M 66 Y 51 K 42 C 74 M 73 Y 60 K 82

OCTOBER 2014

SEPTEMBER 2014

rgb

neutral with accent color C 2 M 64 Y 100 K 0 C 49 M 64 Y 72 K 46

C 0 M 99 Y 100 K 0 C 63 M 0 Y 100 K 0 C 88 M 77 Y 0 K 0

NOVEMBER 2014

DECEMBER 2014

neutrals

complimentary

C 31 M 28 Y 37 K 30 C 32 M 35 Y 55 K 35 C 11 M 48 Y 37 K 35 C 53 M 71 Y 79 K 73 C 53 M 71 Y 79 K 43

C 2 M 53 Y 100 K 0 C 91 M 81 Y 0 K 0


DESIGN Samantha Mack

REFERENCES 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) TITLE PAGE IMAGES Photographer: Samantha Mack Knitting Specialists: Samantha Mack, Amanda Mack, Sharon Novy

INFLUENCES Thinking with Type by Ellen Lupton pantone.com


YADNUS

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