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12 month calendar spread 2012
Citation preview
Windy City 2012
Windy City 2012
J
S
1 2 3 5 6 74
M T W FT S
8 9 10 11 12 13 14
S M T W FT SJanuary
15 16 17 19 20 2118
S M T W FT S
22 23 24 25 26 27 28
S M T W FT SJanuary
29 30 31 2 3 41
January
S M T W FT S
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.
Century SchoolbookDesigner: Morris Fuller Benton (1872–1948 USA)
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz &0123456789
F
2 3 41
S M T W FT S
5 6 7 8 9 10 11
S M T W FT SFebruary
12 13 14 16 17 1815
S M T W FT S
19 20 21 22 23 24 25
S M T W FT S
February
26 27 28 1 2 329
S M T W FT S
February
February
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.
Minion ProDesigner: Robert Slimbach (1956 USA)
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S M T W FT S
1 2 3
MarchS M T W FT S
4 5 6 7 8 9 10
S M T W FT S
11 1512 16 1713 14
March
S M T W FT S
18 19 20 21 22 23 24
March
S M T W FT S
25 2926 30 3127 28
March
31
Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC. This version adheres closely to the subtle thick and thin pattern of the original design; the slightly enlarged x-height and condensed proportions of the new version result in greater economy of space. This typeface is a standard choice for use in newspapers and advertising. In 1991, David Berlow completed the family for ITC by creating compressed and condensed weights. ITC Franklin Gothic Compressed is designed especially to solve impossibly tight copyfitting problems, while maintaining high legibility standards. ITC Franklin Condensed provides medium weights of narrow proportions. It is frequently seen in newspapers, advertisements, posters, and anyplace with space restrictions.
Morris Fuller Benton is accredited with being the most prolific type designer in
American history, with an output twice as great as that of Frederic Goudy (although
in fairness Goudy did not start his career until a later age). A factor in his relative
anonymity was his position as an in-house designer, but in a position that suited
his retiring character: when pressed he would put his successes down to ‘Lady
Luck’. 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.
Designer: Morris Fuller Benton (1872–1948 USA)
Franklin Gothic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz &0123456789
A
S M T W FT S
S 2 3 5 6 74
AprilS M T W FT S
S 9 10 11 12 13 14
S M T W FT S
S 16 17 19 20 2118
S M T W FT S
S 23 24 25 26 27 28
April
S M T W FT S
29 30 3 4 52
April
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.
Minion Pro
Designer: Robert Slimbach (1956 USA)
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz &0123456789
M
S M T W FT S
1 3 4 523029
MayS M T W FT S
6 7 8 9 10 11 12
S M T W FT S
13 14 15 17 18 1916
S M T W FT S
20 21 22 23 24 25 26
May
May
S M T W FT S
27 28 29 31 1 230
The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of
Helvetica. The first one is the original design, which was created by Max Miedinger and released by
Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released
the Neue Helvetica® design, which was a re-working of the 1957 original. The outcome was
a synthesis of aesthetic and technical refinements and modifications that resulted in improved
appearance, legibility and usefulness.
Max Miedinger, born in Zurich, was an in-house designer with the Haas foundry
in Munchenstein, Switzerland. His most famous typeface is Helvetica, currently
one of the most widely used sans serifs, which was designed in 1956. Edward
Hoffman of Haas had asked Miedinger to adapt the existing Haas Grotesk
to bring it in line with current taste. Haas Grotesk had its origins in the 19th-
century German grotesques like Berthold’s Akzidenz-Grotesk. The type, which
was created from Miedinger’s china-ink drawings, seemed like a new design
in its own right, rather than an old one with minor retouching as had been the
original plan. Although designed for the home market, the then-called Neue
Haas Grotesk proved popluar farther afield. When Stempel AG in Germany
released the face in 1961 they called it Helvetica, the traditional Latin name
for Switzerland, in order to capitalize on the fashion for Swiss typography.
Additional weights were added to the Helvetica family over the years. In 1983
Linotype released a new, more extensive version, Neue Helvetica, in 51 weights.
Helvetica Neue
Designer: Max Miedinger (1910–1980 CH)
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J
S M T W FT S
1 2 3 5 1 24
JuneS M T W FT S
3 4 5 6 7 8 9
S M T W FT S
10 11 12 14 15 1613
S M T W FT S
17 18 19 20 21 22 23
June
June
S M T W FT S
24 25 26 28 29 3027
Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is
based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the
signage of the London Underground. Gill’s alphabet is more classical in proportion and contains his signature
flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as
a humanist sans serif, making it very legible and readable in text and display work. The condensed, bold, and
display versions are excellent for packaging or posters.
Arthur Eric Rowton Gill, letter-cutter, sculptor, wood-engraver and type designer,
was one of the most prominent and controversial figures of his day. Born in
Brighton, Gill studied at Chichester School of Art before being apprenticed
to an ecclesiastical architect in London. Whilst there he attended the classes
of the calligrapher Edward Johnston at the Central School of Arts and Crafts.
Thus he became involved in the small world of scribes and illuminators and
the Arts and Crafts Movement, embarking on a career as a stone cutter and
letterer. 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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Gill Sans MTDesigner: Eric Gill (1882-1940 GB)
J
S M T W FT S
1 2 3 5 6 74
JulyS M T W FT S
8 9 10 11 12 13 14
S M T W FT S
15 16 17 19 20 2118
S M T W FT S
22 23 24 25 26 27 28
July
S M T W FT S
29 30 31 2 3 41
July
In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in
1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper,
“The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by
French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the
French models and is now classified as Transitional. Essentially a text face, Bell can be used for books,
magazines, long articles etc.
Born in London, RIchard Austin trained as a wood-engraver with Thomas
Bewick. In 1788 he joined the British Letter Foundry of publisher John Bell as a
punch-cutter. Influenced by Bell’s enthusiasm for contemporary French types,
Austin, a skillful cutter, produced a very sharply serifed letter which Stanley
Morison was to call the first English modern face. the type retains some old-
style characteristics and should more properly be called a late transitional.
Austin went on to cut true moderns and later, in 1819, after starting a foundry
of his own, he outlined the dangers of such designs being taken to extremes.
Bell MT
Designer: Richard Austin (1768-1830 GB)
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A
S M T W FT S
29 30 31 2 3 41
AugustS
5
M T W FT S
6 7 8 9 10 11
M T W FT S
13 14 16 17 1815
AugustM T W FT S
20 21 22 23 24 25
August
S M T W FT S
26 27 28 30 31 129
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 Style
Designer: Frederic Goudy (1865-1947 USA)
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S
S M T W FT S
26 27 28 30 31 129
SeptemberS M T W FT S
2 3 4 5 6 7 8
S M T W FT S
9 10 11 13 14 1512
SeptemberS M T W FT S
16 17 18 19 20 21 22
September
S SM T W FT S
23 24 25 27 28 29 3026
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.
Adobe Caslon Pro
William Caslon (1692-1766 BG)
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&0123456789
O
S M T W FT S
1 2 4 5 63
OctoberS M T W FT S
7 8 9 10 11 12 13
S M T W FT S
14 15 16 18 19 2017
OctoberS M T W FT S
21 22 23 24 25 26 27
October
S M T W FT S
28 29 30 1 2 331
Century Gothic Regular fonts maintains the basic design of 20th Century but has an
enlarged ‘x’ height and has been modified to ensure satisfactory output from modern
digital systems. A design based on 20th Century, which was drawn by Sol Hess between
1936 and 1947. The Century Gothic Fonts Regular design is influenced by the geometric
style sans serif faces which were popular during the 1920’s and 30’s. Century Gothic Fonts
Regular is useful for headlines and general display work and for small quantities of text,
particularly in advertising.
For 50 Years Sol Hess was art director of Lanston Monotype Machinery
Co., where he succeeded his friend and collaborator F W Goudy. He
started with the company in 1902 after a three-year scholarship 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
Designer: Sol Hess (1886-1953 USA)
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N
M T W FT S
1 2 1 2 33
NovemberS M T W FT S
4 5 6 7 8 9 10
S M T W FT S
1211 13 15 16 1714
S M T W FT S
18 19 20 21 22 23 24
November
S M T W FT S
2625 27 29 30 128
November
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 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.
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz &0123456789
Perpetua
Designer: Eric Gill (1882-1940 GB)
D
S M T W FT S
1211 13 15 16 114
DecemberS M T W FT S
2 3 4 5 6 7 8
S M T W FT S
109 11 13 14 1512
S M T W FT S
16 17 18 19 20 21 22
December
2423 25 27 28 2926
December
S M T W FT S
30 31
S M
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.
Minion ProDesigner: Robert Slimbach (1956 USA)
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
&0123456789
DESIGN•Jessica Zimny
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{ list all photo references here or list yourself as photographer/
illustrator }
INFLUENCES• Thinking withType by Ellen Lupton