Table Of ContentTypography
Referenced
A Comprehensive Visual Guide
to the Language, His ory, and
Prac ice of Typography
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Typography
Referenced
A Comprehensive Visual Guide to
the Language, His ory, and
Prac ice of Typography
Allan Haley, Richard Poulin, Jason Tselentis
Tony Seddon, Gerry Leonidas, Ina Saltz, Kathryn Henderson
with Tyler Alterman
III
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Contents
4 142
Introduction Typefaces and Specimens
By Ina Saltz By Jason Tselentis
8 207
Type History and Timeline Typographic Principles
By Allan Haley with Kathryn Henderson By Jason Tselentis
31 234
Type Design Contemporary Usage:
and Development Designing with Type
By Gerry Leonidas By Jason Tselentis, with Ina Saltz
52 320
Type Classifi cation Typography Terminology
and Identifi cation and Language
By Allan Haley By Tony Seddon, with Ina Saltz
68 336
Type Designers Type Management
By Richard Poulin By Ina Saltz, Jason Tselentis,
and Tyler Alterman
122
Type Foundries
By Kathryn Henderson with Ina Saltz
2
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344 390
Type-Specifi c Resources About the Authors
By Tony Seddon
391
Schools of Typography 346 Contributors
Type-Specifi c Publications 350 393
Image Credits
Type-Specifi c Organizations 354
394
Type-Specifi c Conferences and Events 356 Index
Type-Specifi c Films and Documentaries 359
Type-Specifi c Institutions and Collections 363
Blogs, Links, and Online Resources 368
Bibliography 382
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Introduction
Wrapping Paper:
Linotype Didot, Braille,
and sign language,
MOD/Michael Osborne
Design, United States
he history of type development pursuit of typographic knowledge, excel-
has seen many exciting eras. The lence of typographic design, and type design.
invention of moveable type, for Prominent type designers are sought after
T instance, revolutionized our world, as speakers and teachers; some have even
allowing the transmittal and sharing of attained rock star status.
knowledge, raising the level of the world’s Type is no longer the invisible servant of
literacy, and enabling civilization to progress design, but rather recognized as design
and prosper. And today we fi nd ourselves of the highest order. Typography is a subject of
in an unprecedented era of typographic fi erce debate and even controversy. Its
fervor and productivity. Technological passionate base celebrates and covets its innate
developments, principally the ubiquity of complexity and characteristics. Typography
computers, the availability of sophisticated conferences—formerly dry and scholarly—
software, and Internet connectivity, have have become must-attend events, entertaining
raised even the average person’s awareness revels, even. Type-centric game shows
about the power of typography. In 2007, the and typographic “performance art” have
TV game show Jeopardy! had “Fonts” as a appeared on the scene as inventive expres-
category, with Bodoni and Helvetica among sions of typography’s enormous appeal.
the answers. Popular magazines such as the Dare we venture a guess as to the number
Atlantic, GQ, New Yorker, and the New York of readily available, downloadable, relatively
Times Magazine have published signifi cant inexpensive typefaces off ered by a profusion of
articles about typographic topics that once foundries, some with as few as a couple fonts,
would have been considered too esoteric for some with thousands? At this writing, that
mainstream media. Network television shows number surely tops 200,000. That’s an aston-
and public radio programs have interviewed ishing number when we consider that only
type designers. For the fi rst time in history, a few short years ago the fi gure was likely in
the lay public has an appreciation for and the tens of thousands, with many fewer just
an understanding of good typography. prior to that. The tools—namely, software—for
Today, hundreds of colleges and universi- sophisticated and fully functional digital type-
ties worldwide teach courses about typography face design have themselves become easier to
and even type design. There is a virtual army use and more aff ordable, and the means for dis-
of enthusiastic young people devoted to the tribution of digital fonts is only a click away.
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There are now many books devoted to the of this hefty volume was astonishingly ambi-
art, design, practice, resources, and teach- tious: To encompass and explicate the whole of
ings of typography. Because of that, there is science, philosophy, religion, political science,
an even greater need than ever for a book like music, art, world history, psychology, econom-
this, an all-in-one comprehensive reference ics, fi lm, and American studies. In short, 10,000
guide to all things typographic. We intend for years of culture in one fell swoop, or everything
this book to be a broad, authoritative, com- an “educated” person should know. Its aim was
plete resource of typographic knowledge. to provide key pieces of information, banishing
While many typography books contain won- those embarrassing gaps caused by missed edu-
derfully deep, scholarly, and essential material cational opportunities or a lack of retention of
(more about these later), each has its own point what had once been learned.
of view, its own strengths and weaknesses, and We hope this book emulates the latter idea,
inclusions and omissions. There is no single as a single sourcebook in which practitioners
volume with it all, presented in an easy-to-nav- and the average person alike can fi nd
igate and accessible format. While Typography, every aspect of typography, with resources
Referenced covers every area of typography, it and guides for further research. Typography,
provides breadth rather than depth, for typog- Referenced, like An Incomplete Education,
raphy is a wonderfully dense and rich topic. For strives for breadth and inclusiveness, to
depth, we cite additional sources as needed. cover the essential knowledge of the complex
As Typography, Referenced came into being, subject of typography, everything that a
the book An Incomplete Education by Judy “typographically educated” person should know.
Jones and William Wilson (published by Ballan- This book contains the basic founda-
tine Books in 1987) came to mind. The concept tions and core concepts of what constitutes
6 Typography, Referenced
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From left to right:
Californya I by German Olaya,
Lo-Res 1 by Zuzana Licko,
and Orbe I by Rui Abreu
typography and typographic design, delineat- In short, Typography, Referenced serves as a
ing and defi ning type-specifi c language, terms, comprehensive source of information and inspi-
ideas, principles, and processes. It begins with ration by documenting and chronicling the scope
the invention of moveable type and chronicles of essential typographic knowledge and design
the entire history of typography, including the from the beginnings of moveable type to the
future of type on the Web, mobile devices, tablets, present golden age of typography.
and beyond. It provides essential biographies of Typography has entered the mainstream.
prominent type designers and their infl uence on Its devotees and acolytes have never been
contemporary design, as well as those design- more visible, more active in the fi eld, or
ers shaping typography’s future. It includes type more passionate. Given the vast scope of the
specimens documenting the contributions of current typographic landscape, this seems the
signifi cant and classic type designs. perfect time for this particular volume about
And Typography, Referenced incorporates all typography, one that aims to fi ll a void, fi nd its
sources of typography and typographic design: place in many personal and public libraries,
• Type foundries throughout the world and serve as a springboard for the continued
• Type-specifi c publications and books celebration and practice of the typographic arts.
• Online resources and blogs, which provide —Ina Saltz
an ongoing and lively discourse about
typographic topics
• Organizations that archive, acknowledge,
support, and celebrate typographic achievements
• Institutions off ering specialized type education
• Institutions that document, curate, collect,
and preserve typographic heritage
Introduction 7
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Type History and Timeline
By Allan Haley with Kathryn Henderson
The history of type dates back to the ancient Greeks.
Here’s a look at that timeline, from its start through 2010.
Greek lapidary letters Roman monumental capitals
Fifth Century BCE First Century BCE
Greek lapidary letters, letters carved into hard surfaces, Roman monumental capitals are the foundation
were one of the fi rst formal uses of Western letterforms. for Western type design, as well as the ancestor of all
The Greeks adopted the Phoenician alphabet for their own serif typefaces
needs, and as a result, changed several letters and created
the foundation for Western writing.
Fourth and Fifth Centuries CE
Second Century BCE
This time period saw square capitals, formal hand-written
letters that evolved from Roman monumental capitals.
Roman lapidary letters exemplifi ed transitional
letterforms from ancient Greek to the more modern
Roman shapes and proportions.
Eighth through
Eleventh Centuries
Thanks to Charlemagne, Carolingian minuscule became
the basis for the standard lowercase (332) alphabet.
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