2012 Typographic Calendar

T YPO&RAPHIC CALENDAR

23456

1

7

Tuesday

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J A N U A R Y

910111213

8

14

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1617181920

15

21

Tuesday

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J A N U A R Y

2324252627

22

28

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

3031

123

29

4 Saturday

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

J A N U A R Y

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 ac-

credited 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.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

&0123456789

..................................................................... Century SchoolbookDesigner: Morris Benton

Morris Fuller Benton 1872–1948 USA

3031123

29

4

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

F E B R U A R Y

678910

5

11

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1314151617

12

18

Monday

Sunday

Wednesday

Thursday

Friday

Saturday

Tuesday F E B R U A R Y

2021222324

19

25

Monday

Sunday

Wednesday

Thursday

Friday

Saturday

Tuesday

27282912

26

3

Monday

Sunday

Wednesday

Thursday

Friday

Saturday

Tuesday F E B R U A R Y

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 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 1692–1766 GB

.................................................................................................... Adobe Caslon ProDesigner: Original: William Caslon,

Revival: Carol Twombly


&0123456789Carol Twombly(see October)

27282912

26

3

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

M A R C H

56789

4

10

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1213141516

11

17

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

M A R C H

1920212223

18

24

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

2627282930

25

31

Monday

Sunday

Wednesday

Thursday

Friday

Saturday

Tuesday M A R C H

........................................................................................................ Adobe Garamond ProDesigner: Original: Claude Garamond

Revival: Robert Slimbach

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.

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.


&0123456789

........................................................................................................ Adobe Garamond ProDesigner: Original: Claude Garamond

Revival: Robert Slimbach

Robert Slimbachb. 1956 USA

23456

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1

7

A P R I L

910111213

8

14

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1617181920

15

21

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

A P R I L

2324252627

22

28

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

301234

29

5

Tuesday

Wednesday

Thursday

Friday

Saturday

Monday

Sunday

A P R I L

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.

........................................................................................... Goudy Old StyleDesigner: Frederic Goudy


&0123456789Frederic W. Goudy1865–1947 USA

Sunday

5

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

301234

29

M AY

7891011

6

12

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

19

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

1415161718

13

M AY

2122232425

20

26

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

Monday

Sunday

2

Tuesday

Wednesday

Thursday

Friday

Saturday

28293031

1

27

M AY

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.

Sol Hess 1886–1953 USA


&0123456789

......................................................................................... Century GothicDesigner: Sol Hess

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.

282930311

27

2

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J U N E

45678

3

9

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1112131415

10

16

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J U N E

1819202122

17

23

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

2526272829

24

30

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J U N E

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.

Richard Austin 1768–1830 GB

.................................................................................................................................................................. Bell MTDesigner: Richard Austin


&0123456789Born 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.

23456

1

7

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J U L Y

910111213

8

14

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1617181920

15

21

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J U L Y

2324252627

22

28

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

3031

123

29

4

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

J U L Y

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, 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 sans-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.


&0123456789

................................................................................................ PerpetuaDesigner: Eric Gill

Eric Gill1882–1940 GB

29

4

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

3031

123

A U G U S T

678910

5

11

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

12

18

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1314151617

A U G U S T

2021222324

19

25

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

26

1

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

2728293031

A U G U S T

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(see January)


&0123456789

................................................................................................... Franklin GothicDesigner: Morris Benton

2728293031

26

1

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

S E P T E M B E R

2

8

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

34567

1011121314

9

15

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

S E P T E M B E R

16

22

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1718192021

2425262728

23

29

S E P T E M B E R

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday


&0123456789

30Sunday

Robert Slimbach (see March)

.................................................................................................................. Minion ProDesigner: Robert Slimbach

Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of

Minion was released in 1990. Cyrillic additions werereleased 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.

12345

30

6

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

O C TO B E R

891011 12

7

13

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1516171819

14

20

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

O C TO B E R

2223242526

21

27

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

293031

12

28

3

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

O C TO B E R

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.

............................................................................................ Myriad ProDesigners: Robert Slimbach and Carol Twombly


&0123456789Carol Twomblyb. 1959 USA

Robert Slimbach(see March)

29303112

28

3

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

N O V E M B E R

5 678 9

4

10

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

1213141516

11

17

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

N O V E M B E R

19 202122 23

18

24

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

2627282930

25

1

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

N O V E M B E R

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 popular 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.

........................................................................................ Helvetica NeueDesigner: Original: Max Miedinger

Revival: D. Stempel AG


&0123456789

Max Miedinger 1910–1980 CH

2627282930

25

1

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

D E C E M B E R

34567

2

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

8

1011121314

9

15

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

D E C E M B E R

1718192021

16

22

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

2425262728

23

29

Monday

Sunday

Tuesday

Wednesday

Thursday

Friday

Saturday

D E C E M B E R


&0123456789

3130

Monday

Sunday

Eric Gill(See July)

.................................................................................... Gill Sans MTDesigner: Eric Gill

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.

JANUARY

1 2 3 4 5 6 7 8 9 10 11 12 13 1415 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 311 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

FEBRUARY

JUNE

MARCHAPRIL

MAY

1 2 3 4 5 6 7 8 9 10 11 12 13 1415 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

AUGUSTJULY

SEPTEMBEROC TOBER

NOVEMBERDECEMBER

D E S I G N • Melissa Treinen

R E F E R E N C E S • 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 & COVER IMAGESMichael Waite

I N F LU E N C E S • Thinking with Type by Ellen Lupton

Documents

2012 Typographic Calendar