Calahan, Anthony
Type, Trends and Fashion
(The Typographic Papers Series)
Mark Batty Publisher Academic,
New York City, 2007
Carter, Harry
A View of Early Typography
Up to About 1600
Hyphen Press, London, 2002
Cheng, Karen
Designing Type
Laurence King Publishing,
London, 2006
Child, Heather (ed)
Edward Johnson:
Formal Penmanship
Lund Humphries, London, 1971
Cramsie, Patrick
The Story of Graphic Design
British Library Publishing,
London, 2010
Dowding, Geoffrey
An Introduction to the History of
Printing Types
Wace & Company, London, 1961
Fenton, Erfert
The Macintosh Font Book
2nd Edition
Peachpit Press, California, 1991
Friedl, Friedrich; Ott, Nicolaus;
Stein, Bernard
Typography: An Encyclopaedic
Survey of Type Design and
Techniques Throughout History
Black Dog & Leventhal Publishers
Inc, New York, 1998
Frutiger, Adrian
Typefaces – the Complete Works.
Birkhauser, Basel, Boston, Berlin,
2009
Gill, Eric
An Essay on Typography,
London, 1936
Goudy, Frederic W.
Typologia
Berkeley, 1977
Gray, Nicolete
Nineteenth-Century
Ornamented Typefaces
Faber, 1976
Heller, Steven and Meggs, Philip B.
Texts on Type: Critical Writings
on Typography
Allworth Press, New York, 2001
Howes, Justin
Johnston’s Underground Press
Capital Transport Publishing,
London, 2000
Johnson, Edward
Writing, Illuminating & Lettering
Sir Isaac Pitman & Sons,
London, 1945
Judson, Muriel
Lettering For Schools
Dryad Handicrafts
London, c. 1927
Kinneir, Jock
Words & Buildings
The Architectural Press,
London, 1980
Lawson, Alexander
Anatomy of a Typeface
Godine, Boston, 1990
Letterform Collected
A Typographic Compendium
2005 – 09
Grafik Magazine, London, 2009
Lowry, Martin
The World of Aldus Manutius
Basil Blackwell, Oxford, 1979
Loxley, Simon
Type: The Secret History of Letters
IB Tauris, London, 2004
MacCarthy, Fiona
Eric Gill
Faber and Faber, London 1989
Macmillan, Neil
An A-Z of Type Designers
Laurence King Publishing,
London, 2006
McLean, Ruari (ed)
Typographers on Type
Lund Humphries, London, 1995
McLuhan, Marshall
The Gutenberg Galaxy
University of Toronto Press, 1962
McMurtrie, Douglas C.
Type Design
John Lane The Bodley Head,
London, 1927
Middendorp, Jan and
Spiekermann, Erik
Made With FontFont
BIS Publishers, Amsterdam, 2006
Millman, Debbie
Essential Principles of
Graphic Design
RotoVision, Switzerland, 2008
Norton, Robert (ed)
Types Best Remembered/
Types Best Forgotten
Parsimony Press, Kirkland,
Washington, 1993
Pardoe, F.E.
John Baskerville of Birmingham,
Letter-Founder and Printer
Frederick Muller Ltd, London, 1975
Penrose Annual 1957, 1962, 1967,
1968, 1969, 1976, 1980
Lund Humphries, London
Perfect, Christopher
The Complete Typographer
Little, Brown and Company,
London, 1992
Perfect, Christopher and
Rookledge, Gordon
Rookledge’s Classic International
Typefinder
Laurence King Publishing,
London, 2004
Rothenstein, Julian and
Gooding, Mel
ABZ: More Alphabets and
Other Signs
Redstone Press, London, 2003
Spiekermann, Erik and Ginger, E.M.
Stop Stealing Sheep & Find Out
How Type Works
Adobe Press, California, 1993
Tidcombe, Marianne
The Doves Press
The British Library & Oak Knoll
Press, London, 2002
Truong, Mai-Linh Thi, Siebert,
Jurgen and Spiekermann, Erik
FontBook
FSI, Berlin, 2006
Unger, Gerard
While You’re Reading
Mark Batty, New York, 2007
Updike, Daniel Berkeley
In the Day’s Work
Harvard University Press,
Massachusetts, 1924
White, Alex W.
Thinking in Type
Allworth Press, New York, 2005
Willen, Bruce and Strals, Nolen
Lettering & Type
Princeton Architectural Press,
New York, 2009
Wolpe, Berthold
A Retrospective Survey
Merrion Press, London, 2005
Zapf, Hermann
Hermann Zapf and His Design
Philosophy (Selected Articles)
Society of Typographic Arts,
Chicago, 1987
Online
A personal selection of videos,
blogs, typeface libraries and
discussion sites.
Font foundries and retailers:
Adobe
www.adobe.com/type
Font Bureau
www.fontbureau.com
FontFeed
www.fontfeed.com
Font Haus
www.fonthaus.com
Fonts.com (Monotype Imaging)
www.fonts.com
FontShop
www.fontshop.com
Fontsmith
www.fontsmith.com
FSI FontShop International
www.fontfont.com
Google Font Directory
www.code.google.com/webfonts
ITC (International Typeface Corporation)
www.itcfonts.com
Linotype
www.linotype.com
MyFonts
www.myfonts.com
Featured Designers:
Jonathan Barnbrook
www.barnbrook.net
Rodrigo Xavier Cavazos and
PSY/OPS
www.psyops.com
Vincent Connare
www.connare.com/
Emigre
www.emigre.com
Hoefler & Frere-Jones
http://typography.com
Luc(as) de Groot
www.lucasfonts.com
Jim Parkinson
www.typedesign.com/index.html
David Pearson
www.davidpearsondesign.com
Mark Simonson
www.ms-studio.com
Erik Spiekermann
www.edenspiekermann.com/en
General:
Cheese or Font
www.cheeseorfont.mogrify.org/play
Eye (International Review of
Graphic Design)
<
br /> www.eyemagazine.com
Grafik (The Magazine for
Graphic Design)
www.grafikmag.com
Identifont
www.identifont.com
I Love Typography
www.ilovetypography.com
Pentagram: What Type Are You
www.pentagram.com/what-type-are-you
St Bride Library
www.stbridefoundation.org
The Type Directors Club
www.tdc.org
The Type Museum
www.typemuseum.org
TypArchive
www.typarchive.com
Typographica
www.typograhica.org
Typophile
www.typophile.com
The Wynkyn de Worde Society
www.wynkyndeworde.co.uk
YouTube Favourites:
Helvetica vs Arial Fontfight
www.youtube.com/watch?v=m6djQHeqMwQ
Font Conference on Zapf Dingbats
www.youtube.com/watch?v=i3k5oY9AHHM&feature=channel
Michael Bierut on Helvetica:
www.youtube.com/watch?v=VDLPAE9wLEU
Mrs Eaves – Write Here,
Right Now:
www.youtube.com/watch?v=Nz3lXu3VxVg&feature=fvw
The Quick Brown Fox …
www.youtube.com/watch?v=00E_LVo_aTo
Trajan is the Movie Font:
www.youtube.com/watch?v=t87QKdOJNv8
Acknowledgements
Fonts entered my life when I was five or six. I can hear my dad telling a man in a peaked cap to fill her up, and I can see huge illuminated signs proclaiming Shell, Esso and BP. Long before these images assumed negative connotations they were treats for the eye – a burst of colour in a dusky landscape, brilliant branding, letters that seemed to fall from the sky and promise relief, further adventures and sweets. I don’t think I was aware of the differences in type until then. My interest remained fleeting, or at least submerged. I devoured comics, but I wasn’t aware until recently that the Beano nameplate was always all-caps while the usually wasn’t.
Everything changed in 1971, when I was eleven. My brother bought the T. Rex album and then David Bowie’s , and type became paired to emotion. One spent a lot of time staring at record sleeves in those days, and I began my visual literacy that way – the way the gold outline capitals (T.REX) mirrored the halo around Marc Bolan and his amp; how the swell of the Bowie type (Zipper, I now know) promises an expanding consciousness even before the needle hits the groove.
My type education has been expanding ever since, and has recently been boosted beyond measure by the vast knowledge and experience of those who have helped me with this book. My first and largest debt is to Mark Ellingham, my editor at Profile Books, who proved an untiring source of encouragement and erudition through every stage of writing and production. Everyone at Profile Books has been unswervingly supportive of this project from the beginning, and I particularly wish to thank Andrew Franklin, Stephen Brough, Niamh Murray, Penny Daniel, Pete Dyer, Rebecca Gray, Anna-Marie Fitzgerald, Diana Broccardo, Emily Orford, Michael Bhaskar and Daniel Crewe; proofreaders Penny Gardiner and Caroline Pretty, and indexer Diana Lecore. I also owe a large debt to Duncan Clark, who had the original idea for this book and steered it in its early days. James Alexander designed the book with exceptional flair, imagination and patience, and sourced many intriguing images, and Amanda Russell provided additional picture research and clearance; and Simon Shelmerdine, for so skilfully negotiating the reefs and rapids of production.
I am hugely grateful to all those who agreed to be interviewed and generously shared their views and experience: Matthew Carter, Erik Spiekermann, Luc(as) de Groot, Zuzana Licko, Rodrigo Xavier Cavazos, Jim Parkinson, Margaret Calvert, Mark van Bronkhorst, Simon Learman, Tom Hingston, Paul Finn, David Pearson, Paul Brand, Jonathan Barnbrook, Eiichi Kono, Cyrus Highsmith, Justin Callaghan, Tobias Frere-Jones and Aric Sigman. There are also many fine writers on type and typography whose work, listed in the bibilography and website sections, I have found useful; I would particularly like to guide readers towards books by Rick Poynor, Phil Baines and the late Justin Howes, and online to sites from Mark Simonson, David Earls and Yves Peters.
Stephen Coles, former Type Director at FontShop, and Nigel Roche, Librarian at the St Bride Library (a wondrous archive of printing history and graphic design), read the manuscript and corrected errors and misjudgements. Coles and FontShop also provided generous assistance with the licensing of many fonts in the book. Phil Baines and Catherine Dixon from Central Saint Martins read the manuscript with great care and insight, and made invaluable improvements. At the Department of Typography and Graphic Communication at Reading University, Martin Andrews and his colleagues were also immensely enthusiastic and supportive.
The Type Archive, as described in Chapter 17, is a priceless part of our national heritage, and long may it inspire and prosper. Thank you Sue Shaw for your patience, guidance and catering.
As always, the librarians at the London Library were the most efficient and friendly any writer could hope for.
Many other people contributed to this book, providing ideas, advice and inspiration. Thank you Bella Bathurst for being so wise. Thank you David Robson, Suzanne Hodgart, Jeff Woad, Tony Elliott, Lucy Linklater, Phil Cleaver and Andrew Bud for your knowledge and contacts, and Natania Jansz for your hospitality.
At United Agents, Rosemary Scoular and Wendy Millyard were, as ever, superbly sage companions.
Finally, this book would have been impossible without the love of Justine Kanter, JMT if ever there was.
Font and image credits
Font credits
The author and Profile Books are grateful to the following type foundries for allowing us to sample their fonts, and to FontShop for their help in making this possible: Bitstream, E&F, Emigre, Flat-it, Font Bureau, Font Font, Fontsmith, Fountain, GarageFonts, Gestalten, H&FJ, Jeremy Tankard Typography, LucasFonts, Monotype, MVB Fonts, Porchez Typofonderie, PSY/OPS, Richard Beatty, Samuelstype, Sudtipos, URW, Virus.
Fonts featured in this book include:
Academy Engraved; Aftershock Debris; Akzidenz Grotesk; Alte Schwabacher; Amanda; Ambroise Light; American Typewriter; Anglia Script; Antique Olive; Arial; Archer Hairline; MVB Aunt Mildred; Avalon; Avant Garde; Banco; Baskerville; ITC Bauhaus; Bell Centennial; Bembo; Bembo Book; Bliss; Blur; Bodoni; Bogart; Bollocks; Bookman; Braggadocio; ITC Brioso Pro Italic Display; FF Brokenscript; Brush Script; Bubble Bath; MVB Cafe Mimi; Calibri; Californian; Calliope; Calvert; Adobe Caslon; Caslon Old Style; Centaur; Century; Chalkduster; ITC Cheltenham; FF Chernobyl; Chicago; Clarendon; Colossalis; Comic Sans; Consolas; Crillee; Dante; De Vinne; Didot; DIN (Deutsche Industrie Norm); Dot Matrix; Ehrhardt; Electra; English 157; Erbar; Expanded Antique; Fairfield; Falafel; Fenice; Fette Fraktur; Flieger; Floydian; Franklin Gothic; Freight Sans Black; Frutiger; Futura; Galliard; Garamond; HT Gelateria; Geneva; Georgia; Gill Sans; Gotham; Goudy Oldstyle; Goudy Saks; Goudy Text; Grassy; Hands; Helvetica; Henrietta Samuels; Hounslow; Humana Serif Light; Impact; FF Info; FF Instantypes Dynamoe; Insignia; Jazz Let; Jesus Loves You; Joanna; Juniper; Kabel; Kiddo Caps; Kismet; Libra; FS Lola; Lombriz; London; Martini at Joe’s; Melior; FF Meta; Minion; Mistral; Monster Droppings; Mr Eaves; Mrs Eaves; Naiv; Nebulae; Neue Helvetica; Neuland; Neuland Inline; New Baskerville; New York; Nimbus Sans Bold; ITC Officina Sans; ITC Officina Serif; Old Dreadful No 7; Old English; Ondine; Optima; Palatino; Papyrus; Parisine; Parkinson Condensed Bold; Parkinson Roman; Party Let; Peignot; Perpetua; Playbill; Plexo; PowerStation; President; FF Profile; Quadraat; Regime; Reporter; Retablo; Riva; Rocky; Rotis; Sabon; San Francisco; Saphir; Scala; Scotch Roman; Scrawlz; Serpentine; Shelley; Souvenir; Stencil; Stoned; Swiss; Tahoma; TheMix; TheSans; TheSerif; Times New Roman; SG Today Sans Serif SH Ultra; Trajan; Transport; HT Trattoria; Trebuchet; FF Trixie; Underground; Univers; Universal; Vendôme; Verdana; Vivaldi; Vitrina; Walbaum; Zapf Dingbats; Zapfino; Zeppelin II and Zipper.
&nb
sp; Image credits
p56 Courtesy of EasyJet;
p61 © Zuzana Licko;
p59 Photograph by Hope Harris;
p62 © Zuzana Licko;
p77 Cary Graphic Arts Collection, RIT, Rochester, NY;
p75 Central Lettering Record at Central Saint Martins College of Art & Design;
p92 © National Portrait Gallery, London;
p99 Courtesy of MyFonts www.MyFonts.com;
p96 The Granger Collection, NYC/TopFoto;
p107 © National Portrait Gallery, London;
p108 Central Lettering Record at Central Saint Martins College of Art & Design;
p112 © Zuzana Licko;
p113 Photograph by Alexander Blumhoff;
p125 Photograph by Terrazzo (Flickr);
p130 Photograph by David M Goehring (Flickr);
p149 © National Portrait Gallery, London;
p155 Courtesy of Margaret Calvert;
p157 Photograph from the Cardozo Kindersley Workshop;
p161 Courtesy of Tom Gourdie Jnr;
p163 © Paula Perrins, Wychbury;
p168 Photograph by Burn_the_asylum (Wikipedia);
p171 © Javier Cañada;
p185 Courtesy of Swiss Dots;
p196 Courtesy of NASA/KSC;
p199 GLC 00496.042. Courtesy of the Gilder Lehrman Institute of American History. Not to be reproduced without permission;
p203 © William Barrett;
p204 Cary Graphic Arts Collection, RIT, Rochester, NY;
p218 courtesy of Pentagram. Freedom Tower Cornerstone, Michael Gericke, Designer;
p236 © Andra Nelki/The Type Archive; ;
p247 courtesy of David Pearson;
p248 © Dutch Type Library;
p257 © 2006 Paul Felton. Used by permission of Merrell Publishers Ltd;
p263 © Neville Brody and Research Studios (some rights reserved);
p259 © The Times, 2nd and 3rd October 1932/nisyndication.com;
p264 © Neville Brody and Research Studios (some rights reserved);
p271 David Redfern/Getty Images;
p300 Image courtesy of Mark Simonson;
p301 Cary Graphic Arts Collection, RIT, Rochester, NY;
p323 © Julia Kay, [email protected];
p324 © Rick Banks/Face37;
p329 © Thorsten Wulff.
Index
Figures in italics indicate images
Absara Sans Head OT-Black 177
Academy Engraved LET 323
ACaslon Pro-Regular 180
Accolade 14
Achtung 173
Achtung Baby 273n
Acid Queen 273n
Adidas 24, 146, 147
Adobe 44, 221, 226n, 245n, 289
Just My Type Page 21
